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Newsletter Easter 2003

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Newsletter Easter 2003 Newsletter from the Section for the Arts of Eurythmy, Speech and Music Easter 2003 1 TABLE OF CONTENTS Preface . 2 Obituaries Stage Forum May Vera Leroi (Gunna Gusevski) . 42 Lea van der Pals (Cara Groot, Christoph Graf, Merce Cunningham – the path of a dancer today Werner Barfod, Ruth Dubach) . 42 (Werner Barfod) . 2 Margarete Proskauer (Werner Barfod) . 45 Impressions of the performance Coming and Going In Erinnerung an Hildegard Bittorf – Kliegel (Helmut Kohlhepp) . 3 (Catherine Meier, Charlotte de Roguin) . 45 Articles Announcements Study on the first steps in eurythmy Events organised by the Section . 46 by Lory (Maier-)Smits, (Elisabeth Day) . 4 Eurythmy . 46 The Impulses of Movement of the Human Ether-Body Speech . 51 – Part III (Rosemaria Bock) . 6 Music . 53 Eurythmy as an Instrument for Crossing the Threshold Puppetry . 53 consciously – to the fourth, fifth and sixth dimensions (Dr Sabine Sebastian) . 9 Biographical report The Speech-Sound in Eurythmy and the Forms of the Soul-Body (Thomas Göbel) . 12 From Marie Savitch’s life (Eva Lunde) . 53 Can we open up afresh the sources of the art of eurythmy? A work report (Anne Hildebrandt-Dekker) . 15 Book Reviews/Publications Hygienic Eurythmy for Spiritual Practitioners (Minke de Vos) . 19 Die Bedeutung der Holzplastik Rudolf Steiners für Voices of the Angels (Michael Schlesinger) . 25 die anthroposophische Kunst unter besonderer From I O A to I A O in the Foundation Stone Verse Berücksichtigung von Musik und Eurythmie (Helga Steiner) . 25 by Sophia-Imme Atwood . 54 “What is Eurythmy?”—Finding a Healing Basis for New publications from Verlag am Goetheanum . 54 this Communal Search (Mark Ebersole) . 26 Workbooks for eurythmists, teachers and people who work Eurythmy in organisational development, facilitation in basic educational music and movement with people of and adult learning (Liz Smith) . 28 various ages, by Andrea Heidekorn . 54 Chopin’s Homage to BACH – Part 1 (Alan Stott) . 29 Rudolf Steiner, “Eurythmy: Its Birth and Development” . 54 Die Katz ditripp ditrapp (Helga Daniel) . 55 Reports Andrej Belyi – Glossolalia – A Poem about Sound . 55 Die eurythmische Botschaft von Hellas – Bilder zum Leben New Projects in the Cultural Space, Bonn und Wirken von Lea van der Pals (Cara Groot) (Andrea Heidekorn) . 34 Video Eurythmy 2001/2002 . 56 Eurythmy in a Festival context in Rudolf Steiner Das Wesen der eurythmischen Alliteration by Eva Lunde . 56 House, Bonn, with the Project-group “Meeting through Movement” (Ursula Lang) . 34 Readers’ Letters “Renewing education”, course with Annemarie Ehrlich in Prague (Uta Rebbe, Marta Bialon) . 36 Ursula Weber . 56 Pilot-project for a new Training for Eurythmy in Riikka Ojanperä, Sauvo . 56 Working Life in Sekem, Egypt (Annemarie Ehrlich) . 36 Report on the working weekend of Eurythmy Miscellaneous in Öschelbronn (Birgit Hansch) . 37 10 years of the North German Eurythmy Eurythmy in Education (E. Schwebsch) . 57 Teachers Training (Renate Barth) . 37 Stress on the Building-Site . 57 Eurythmy Project for the Youth in Berlin BAUfit – Advice/Training Programmes for Building Firm≠s58 (Edith Peter, Ulrike Baudisch, Reinhard Wedemeier, Eurythmy on the Building-Site (Fanny Kneucker) . 59 Andres Borrmann) . 38 How I was successful with eurythmy therapy Living with the Sword of Damocles over us as a patient (Almut Schröder) . 59 (Helga Daniel) . 39 Review of the Youth Conference “Youth in Movement” Correction to RB37e (Bevis Stevens, Florian Schaller) . 39 p. 74, l. 12 for 'want' read 'wants' The Effect of the Spoken Word Speech chorus in Parliament (Beate Krützkamp) . 40 The Harp: Music and the Oral Tradition - Cambridge Music Conference 2002 (Michael Kurtz) . 41 2 Dear Readers, demands of our time in order to do people justice. The work Our times continue to be insecure and chaotic. One can hard- on artistic study-of-man proves to be a central task and source ly see through to what really is going on. Something of the per- for the basis of the further development of the arts. plexity and powerlessness is mirrored in our work, although To the Section letter as an organ of exchange and contact for at the same time great efforts are being made to achieve some- all departments, positive news can be reported after the thing fruitful in seed form. Ever again, despite everything, decision to introduce subscriptions. Numerous interested there are attempts to step forwards. Here at the Goetheanum people have in retrospect contacted us again after our letter we could carry out the first workshop performances of in late autumn. So we hope that after the strong reduction of Goethe’s Faust, with short rehearsal time and little means, more than half the number, the print-run can slowly with a new ensemble constellation. The doubling up of many increase again. Since the costs are far from being covered for main parts proves to be artistically interesting through the the production of our Newsletter (incl. printing and postage diversity of presentation. The simplicity of the stage-set allows costs), the size has to be reduced as far as possible. Conse- space for play and imagination, demanding much from the quently several interesting contributions have had to be held artists. The great public is still holding back. It requires great back. The coloured titles, too, had to go. It is still open efforts from our side to get the interest and engagement going, whether we have simply to photocopy the English edition in including the finances. Patron seats and free donation tickets future – there are only about 100 subscriptions – and possi- are our hope in order that the “Faust project” can be earthed. bly put it on the internet for a fee. Through the Faust production together with the work of the Please keep your contributions as short as possible so that speech chorus, we have to bring to experience again the they will be read. impulse of the Goetheanum Stage. The articles contain important contributions on present-day In Section work, intensive work is taking place in all depart- questions regarding the artistic fashioning, the energy ments, even though in modest form, as the possibilities allow. sources of eurythmy, and eurythmy as an art of the threshold. Great attention and effort is demanded for the acute ques- tions of the training in eurythmy and artistic speech. We stand With warm greeting and trust in ever more intensive collab- everywhere before the double task of deepening and renewal oration. from within, and at the same time the public cultural STAGE FORUM Merce Cunningham The prelude to celebrating the 50-years of the company’s – the path of a dancer today existence consisted of the July-2002 performances within Werner Barfod, CH-Dornach the Lincoln Center Festival with significant retakes, as well as the New-York first performance of Cunningham’s most Merce Cunningham describes the stages of development in recent work, Loose Time, that received its premiere in Feb- the dance of the second half of the 20th century, through ruary, 2002 in Berkeley, California. four events during the course of his dance work which have He describes very clearly four great discoveries which were there led to important discoveries. significant for his work, and what effects they had. First, some dates in his biography in which John Cage as “The first occurred through the initial collaboration with musical director of his dance group played an essential role. John Cage; early soli, in which we began to separate the music Merce Cunningham received his training in dance and the- and the dance. That was in the late 40’s. By using what Cage atre at the Cornish School in Seattle. From 1939 to 1945 he called “a rhythmic structure” – i.e. the interval in time, which was soloist in Martha Graham’s company. With John Cage, he we agreed on as the structural beginning and endpoint performed his own first solo programme in New York, in between the music and the dance – we worked separately on April 1944. the choreography and the musical composition. This allowed The Merce Cunningham Dance Company was founded in the music and the dance an independent existence between summer 1953 by Merce Cunningham and a group of these structural points. From the beginning this way of going dancers. John Cage was the musical director, and David about it gave me a feeling of freedom for the dance, I was free Tudor the musician. from relying on what the notes dictate, which I was used to A turning point in the history of the company was marked till then. I had an exact idea of the clarity and also the inter- by the six-month world tour which they undertook in 1964, dependence between the dance and the music. at the beginning of the second decade of their existence, in The second experience happened in the 50’s as I began to western and eastern Europe, India, Thailand and Japan. include chance operations into the choreographies. I have John Cage was connected to the company until his death used a series of different chance constellations, but basical- in August 1992; his successor as musical director was David ly it means nothing other than working out a great number Tudor. In the 70’s in collaboration with Charles Atlas and of dance phrases, each on its own, and then through chance Elliot Caplan numerous choreographies were made for to discover their continuity: Which phrase follows which, videos and films. how the specific movements function in the time frame and STAGE FORUM 3 in the rhythm, how many and which dancers could be Impressions of the performance involved, how the whole is to be placed in the spatial context Coming and Going and where a division takes place. This method led and still A poetic and musical Scenario by and with Gia van den Akker leads today to new discoveries, how you get from one move- and Stefan Weishaupt ment to another, and it creates practically constantly situa- tions where the imagination is confronted by a challenge.
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