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Newsletter from the Section for the Arts of Eurythmy, Speech and Music

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Newsletter from the Section for the Arts of Eurythmy, Speech and Music titel 08.09.2002 12:13 Uhr Seite 4 Newsletter from the Section for the Arts of Eurythmy, Speech and Music Easter 1999 1 EDITORIAL Dear Readers The 30th Newsletter appears at Easter 1999, for the first world-wide Section Conference for eurythmists, speech artists and musicians. There are many voices who have reacted favourably to the new form of the Newsletter, but there are naturally also some voices criti- cal of the new attempt. The Stage Forum is not quite running as we would wish, with many topical contributions and interviews which promote meetings and exchange. For this it needs the on-the-spot help–do you not wish to conduct an interview with someone responsible for a performance or a project? Some very significant and most varying contributions are included, which face contempo- rary problems in the different realms of our Section. The intention to collect several contributions for the 50th anniversary of Marie Steiner’s death, appraising the basis and achievements of Marie Steiner for the Section, was not seen as possible. This has been written about in all the journals, in articles in which Marie Steiner’s contribution in all realms was honoured. We would have been simply repeating. The book by Wilfred Hammacher, Marie Steiner–Lebenspuren einer Individualität (‘Marie Steiner–the life-path of an individuality’), presents a comprehensive picture of this remark- able personality who stood at Rudolf Steiner’s side. The Section Conference promises to bring to visibility much that lives unnoticed in the Section. The meeting of the arts, the common tasks and questions, the mutual support, can motivate us. Many reports of research will be presented in parallel. Will it be possible to for- mulate some of this in writing, to make it available to others through the Newsletter? New ways of working are practised everywhere in working together artistically. Can we dis- cuss this, and exchange our experiences? Many themes in the study-articles centre on those historical moments which are the source of the coming into being of eurythmy, and on the position of eurythmy today. In music, too, the question about the effects of the media and other things, the enlivening out of the spir- it, is central; the phrase ‘sun-secret’, the meditation for eurythmists and on the destiny of being a eurythmist are themes belonging here. Living memory-pictures are conjured up for the anniversary of Lea van der Pals, Jenny- Schuster, and Jürgen Schriefer. Once again, I would like to invite you to exchange views with each other through the Newsletter, world-wide, which encourage the individual and help the arts further, with research points and experiences which could be fruitful for others to take up. The variety of contributions can help to make the tasks of the work become ever clearer. Here I would also like to thank everyone who ever and again gets down to write, allowing us to participate in their concerns. Each writer is responsible for his/ her contribution. Sometimes the articles can only be given in shortened form. We must see whether we are able to retain the size of the Newsletter, and hopefully the variety of the contributions, too. Please help with your finan- cial contributions, that a German and an English edition can continue to be published. Cordial greetings from the Editor, Werner Barfod 2 TABLE OF CONTENTS ‘The further influence of the Mystery of Reports Orpheus: Logical Thinking and Artistic The living Power of Speech and its Forces’ (V. Sease) . 4 Effect in Rhythm (W. Wendt) . 55 Poetry of the Spoken Word (J. Schmied) 56 Stage Forum A First Experience of the Internal Conference for Speakers and Actors Eurythmy Artists Forum (N. Moss) . 12 (N. Vockerodt) . 57 A Glimpse into the Apocalypse Report on the Conference for Speech (Michael Burton) . 13 Artists (S. Breme) . 58 Eurythmy Conference, Stuttgart 98 The North-German Eurythmy Teachers Aphoristic Impressions, (E. Jenaro) . 14 Seminary 1997/98 (A. Peuker) . 60 A Performance of Dostoyevsky’s 3rd Music Week (F. Blume) . 62 ‘The Grand Inquisitor’ (W. Barfod) . 15 9th Music Conference with H. Ruland Walking the Dog Theatre on tour (O. Peter) . 62 (W. Barfod) . 16 Study Course for Puppet and Figure Eurythmie-Studio Bewegungs-Chiffre Theatre (R. Blasel) . 63 (A. Penzkofer) . 16 Recitation and Music Recital at the ‘13 Mirrors’, Rose Theatre (A. Stott) . 17 Eurythmy Therapy Training The Green Snake a modern adaptation (U. Zigenbein) . 64 of Goethe (A. Stott) . 18 Sound Circle Eurythmy Moving Word Theatre (A. Stott) . 19 (D.M. & G. Monasch) . 64 Article from the Berliner Tagesspiegel The Stage Eurythmy Training year (Regina Köthe) . 21 98-99 has begun! (J. Secretan) . 68 Epilogue and Prologue – a Eurythmy Tour Ideas in Foreign Lands (M. Leber) . 70 Working on ‘The Foundation Stone’ in The Initial Steps towards Eurythmy English (C. Schmandt) . 72 (R. Bock) . 24 Report on the Eurythmy Artists Forum The State of Eurythmy Today (G. Krantz) 27 (S. Shapiro) . 73 In-depth Search for the plastic, musical- News from the Speech Association of speech Basis of Art (A. Heidekorn) . 30 North America (P. Smith) . 74 The Meditation for Eurythmists’ some Discussion on Questions of Aesthestic initial thoughts (A. Stott) . .33 Judgement with Thomas Göbel Melody–Harmony–Rhythm or Melos– (W. Barfod) . 75 Rhythm–Beat? (H.-U. Kretschmer) . 38 Report on the Eurythmiy Training Project Electronic Media and the Human Senses in Cape Town (S. Sponheuer) . 76 (R. Patzlaff) . 44 The Eurythmy Stage Group Company Cosmic and Earthly Aspects of Music Berlin presents itself (A. Achilles) . 77 (W. Wünsch) . 46 Freie Projektbühne BRIGID (A. Bässler) 78 The Destiny of being a Eurythmist Report from Slovenia (G. Balog) . 79 (W. Barfod) . 49 Report from Israel (J. Ranck) . 81 Why Seasonal Festivals? A suggestion Austin Eurythmy Ensemble . 82 for discussion (W. Hammacher) . 51 TABLE OF CONTENTS 3 Obituaries (C. Groot) . 103 (C.-M. Schmidt) . 104 Ingrid Asschenfeldt (M. Siegloch) . 83 (U.-I. Gillert) . 104 (D. Engelbrecht) . 84 (M. Habekost) . 105 Ingeborg Bässler (R. Heymann) . 85 (Chr. Lubzyk) . 105 (R. Bock) . 106 Announcements (J. Ranck) . 106 For Maria Jenny-Schuster (C. Groot) . 107 Course in pedagogical eurythmy, Järna .88 In Conversation with Jürgen Schriefer Fundevogel Eurythmie-Theater, Wien . 88 (W. Hammacher) . 107 North-German group for lyre-players . 89 Calling all eurythmists! . 89 Book Reviews Eurythmy Centre, Stourbridge . 89 Eurythmy-Studio . 90 Eurythmy as human-creative power Change in the Puppetry department . 90 by Silvia Bardt (W. Barfod) . 111 Conference for Puppeteers . 90 The zodiacal gestures and the human being Change in the Eurythmy Stage-Group . 90 by Werner Barfod (B. Arden-Hansen) 111 Change in the drama stage-group . 91 Eurythmy School, Hamburg . 92 Miscellaneous Project ‘Worlds of Sound’ . 92 Eurythmy Weekend . 93 The experiences of a Waldorf pupil . 113 Educational Supervising (E. Meier) . 113 Fortbildung Food for thought (W. Müller-Funk) . 114 Second call! . 115 Advanced Course for Speech Artists . 94 Advanced Course for Eurythmist . 94 Publications Music-eurythmy therapy course . 94 Centre for Eurythmy, Vienna . 95 Thomas Poplawski, Eurythmy, Rhythm, Hogeschool Helicon, Den Haag . 95 Dance and Soul . 114 Courses with Annemarie Ehrlich . 96 Ernst Betz, Alliteration und Stabreim . 114 Post-Graduate Courses, Spring Valley . 96 Stefan Abels, Harmonielehre . 115 Summer Eurythmy Week, Spring Valley 96 New Study-Edition of the Ton-Kurs Training-cycle in a new form, Paris . 97 Translation, commentary Alan Stott 115 Eurythmy Teachers preparatory course Verse for educational eurythmy Witten/Annen . 97 (Hedwig Diestel) . 115 Advanced tone-eurythmy with Dorothea LYRAN, Kunst–Pedagogik–Terapi . 119 Mier at the Goetheanum . 98 Hedwig Erasmy, Die ‘zwölf Stimmungen’ 119 Stefan Abel, Pfeil und Bogen . 119 Biographical Reports Readers’ Letters Glimpses from Rehearsals with Marie Steiner (E. Froböse) . 99 Friedward Blume . 120 The 90th Birthday of Lea van der Pals Eugen Meier . 120 (A. Bäschlin) . 100 Brigitte Schreckenbach . 122 (A. Schröder) . 102 Birgit Lundqvist . 124 (E. v. Laue) . 102 Karin Olander . 125 (U. Copijn) . 103 4 ‘The further influence of the ‘Schuré, too, sought in the living spiritual Mystery of Orpheus: form of language to approach the eternal Logical Thinking and values of humankind, whose influence was revealed to him in the achievements Artistic Forces’ of culture. He tried to hear the voices of Summary of a lecture held for the the initiates of all times and races, and Speech-Artists and Actors by Dr was able through the evolving power of Virginia Sease on 26.4.98 at the his pictorial experience and through Goetheanum intensive penetration into the spiritual background to the events, to let them If something really partakes of a Mystery sound out of the distant realms of time character, then its influence radiates into the present.’ [1] throughout long epochs, whether it be the In The Great Initiates, the most explicit ancient mysteries, including the Orphic descriptions of the Orphic mystery are to be mystery, or the new mysteries, like anthro- found, which are especially important for our posophy and the new impulses for art out of theme because Rudolf Steiner, with reference anthroposophy. This year 1998 marks for to this book, describes how someone gifted the third time the assault of the apocalyptic as a medium can supersensibly experience as Beast out of the abyss. (In the lecture to the far as the Moon-sphere. But whether the Conference of 1997, this theme was dealt experiences are truth, or only create illusion with in detail.) But at the end of the year, at through emotions or thoughts carried the Goetheanum, we remembered the 50th through the emotions, cannot be determined anniversary of Marie Steiner’s death, 27th by the clairvoyant of this grade. Steiner December, through the whole Christmas describes this grade as ‘reading in the astral Conference.
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