Newsletter from the Section for the Arts of Eurythmy, Speech and Music Easter 2002 1 EDITORIAL Dear Readers, Since the last Newsletter, the world both around us and within us has become more demand- ing. The question about the very existence of our arts and our work is becoming more urgent. That applies here at the Goetheanum as much as in the whole world. You will have read about the changes in the Theatre Ensemble at the Goetheanum. In order that the work can get further a readiness for risk is required. Our next challenge is the project to produce Goethe’s Faust in a less extravagant style under the direction of Wilfried Hammacher. This will only be possible when we manage to engage all our friends in the world to raise the necessary finances. Then we shall be able in future to have an Ensemble at the Goetheanum. At the Christmas Conference, 2001, we experienced all four Mystery Dramas in a strong, sub- stance-filled production. With two new actors in the Ensemble it will be possible to work fur- ther and produce Rudolf Steiner’s four Mystery Dramas also for the Summer Conference. Please join in the efforts so that the work in the autumn can proceed with the production of Faust! Section work has grown enormously. In all areas acute tasks and burning questions are there to be solved. We gain Michael Kurtz as co-worker in the musical realm. His many contacts to musicians of the present day is an enormous help – the most recent biography of Sofia Gubaidulina was written by him. A meeting of cultures has been made possible in the public Musicians Conference. Agnes Behrens is co-worker in the work of artistic speech, caring for the many different working-groups and working-conferences. Both these colleagues are engaged on a 25 % basis; this year they have to find further finances elsewhere. Directly following the publication of this Newsletter, we hope to greet many eurythmists in the working-conference from 1st to 5th April, 2002, at the Goetheanum. Recently the second Eurythmy Meeting Weekend, with once again three different project-groups, has taken place with intensive, fruitful exchanges and observations. In January we put on an intensive Puppeteers Conference. Many new attempts and new realms were opened up. In the “Stage Forum” you will find topical discussions on the questions at present. With the articles we have once again had to keep a few things over or included only Part 1, so that the issue will not be so thick and expensive. Please take note of the page with the selected Section Events, so that you can plan in advance. The contributions for the Newsletter have slightly risen, but our expenses have still not been covered! From Michaelmas, 2002, we shall consequently have to suggest a subscription price; it is possible to pay something below this or above it. You will find a form enclosed. Please return an answer if you wish to receive the Newsletter in future. With all best wishes for Easter Corrections to RB 35 p. 10, col. 1, 11 lines from the bottom, for ‘it the’ read ‘in the’. p. 16, col. 1, l. 15, for ‘participate’ read ‘participant’. p. 52, 8 lines from bottom, for ‘anthesis’ read ‘antithesis’. 2 TABLE OF CONTENTS Stage forum No more Tone Gestures in Eurythmy? Words by Rudolf Steiner . 4 (A. Stott) . 48 Eurythmy in Crisis? – an aphorism Eurythmy and the Rising One or The (M. Habekost) . 4 Return of Christ in the Etheric Realm What is Eurythmy? (R. Kolben) . 5 (O. Testi) . 53 Cultivating criticism: a necessary contem- The Impulses to Movement in the human plation (E. Reepmaker) . 7 Ether-Body (Part I) (R. Bock) . 55 An attempt to find a way further (A. Stott) . 8 Musical Sound and its three Levels Meetings in Eurythmy (J. Starke) . 9 of Being, Part 1 (H. Ruland) . 58 Eurythmy between self-loss and Do puppets have souls? (Chr. v. Schilling) . 61 new gain (B. Sattler) . 10 The centre of gravity with marionettes Where is Eurythmy Going? (Chr. v. Schilling) . 62 (Notes by Chas Bamford) . 11 Puppetry (U. Ohlendorf) . 63 “What moves the heart of the artist” (A. Plocher) . 12 Is there a crisis in eurythmy? (Ph. Beaven) . 14 Reports A reviews from the Press in Bochum, Recognition for “Das Mondschaf” . 15 Eurythmy during a Memorial Meeting at The impressions on the performance the Crematorium Rotterdam-Süd (NL) in the Waldorf School, Göttingen (G. v. d. Akker) . 66 Hommage à Paul Celan . 15 Report on the Therapeutic Eurythmy Eye Course in Portland(V. Efta) . 67 Eurythmy Summer Week in Belgium Articles (M. Meursing) . 68 “SYNANON – Life without drugs” Beethoven and Number – (L. Smith) . 68 The Diabelli Variations(R. Kolben) . 17 Eurythmy in Organisations The Angle and its various Modes (E. Macgregor/H. Bawden) . 70 in Eurythmy (E. Zwiauer) . 22 “Music Eurythmy viewed as therapy” Thoughts towards the Shape of the Lyre Conference on music eurythmy (Chr.-A. Lindenberg) . 25 therapy (B. v. Plato) . 72 Light-Breath Pianism (D. Killian) . 30 From Youth in Movement to a Challenged The Mysteries of Ephesus, Aristotle’s Cate- Youth (G. Isbaner, C. Elydir) . 73 gories, Rosicrucianism in the Middle How we are proceeding after the official Ages and Eurythmy (Th. Göbel) . 34 inspection of the Hogeschool Helicon Character and Conduct in GA 278: (H. Daniel) . 74 Criteria for Art (Part 2) (A. Stott) . 39 Report on the music-eurythmy conference Addition to Rudolf Steiner’s indications 23rd–25th August 2001 in The Hague on the Foundation Stone Verse (H.-U. Kretschmer) . 75 (Chr. Custer/E. Froböse) . 46 Eurythmy in Armenia (S. Hartyungan) . 76 I A O in the Foundation Stone Verse in Eurythmy Schools in Conversation Eurythmy (H. Steiner) . 47 (A. Storch) . 76 TABLE OF CONTENTS 3 Seminar in Creative Speech and Gesture Werner Barfod: “Tierkreisgesten und (E. Gold) . 77 Menschenwesen – Ein Weg zu den “Peer Gynt” Project at the Waldorf School, Quellen der Eurythmie” Mannheim (J. Bleckmann) . 78 (B. Wagner) . 111 Opening of the Dorion School of Music Black Earth: Towards a New Mystery Drama Therapy in Beaver Run, Glenmoor, by Christopher Marcus (A. Stott) . 115 U.S.A. (Chr.-A. Lindenberg) . 80 Rediscovering the Sources of Eurythmy a Report on the seventh working-meeting workbook, by Norman Francis Vogel for musicians and eurythmists in (St. Kicey) . 116 R. Steiner Haus, Stgt (D. Hattori) . 80 “The Essence of Puppetry” (Chr. Dressler) . 83 Publications “Producing fairy-tales with marionettes” with Carmen Acconcia (M. Keller) . 83 New publication by Hans Ulrich Kretschmer Gilgamesh – a European Project “Grundlagen der Toneurythmie (Basics (G. Pohl, Chr. Bosshard-Zimmermann) . 84 of Music Eurythmy)“ (W. Barfod) . 117 “Studien zur Menschenkunde des Eurythmieunterrichts” von Obituaries Rosemaria Bock (W. Barfod) . 117 Studies after Steiner’s Sketches and For Hildegard Bittorf (R. Dubach) . 87 Indications for Eurythmy (J. Starke) . 117 Inge Schwarz (T. Barkhoff) . 87 Study material (D. Ferger) . 117 Ute Schmid (Dr. S. Sebastian) . 89 Margarete Weber (R./Chr Sydow) . 91 Nina Maria Rice (U. Cornish) . 92 Reader’s Letter DISCUSSION FORUM: Electronic Trans- Conferences of the Section 95 mission of Speech in the Goetheanum (J. Ranck) . 119 Announcements 96 Miscellaneous Biographical Report Letter from Annemarie Dubach-Donath to W. Kux . 122 ‘The Star right up there, that’s you’ A Cry for Help from Bucharest (M. Brühl) . 107 (O. Gayer) . 122 Margarete Proskauer at ninety (M. Stott) . 109 Book Reviews Ernst Moll: Die Sprache der Laute. [‘The language of speech sounds.’] (D. Hartmann) . 110 4 STAGE FORUM Words by Rudolf Steiner 17th August, 1918; cf. “The History and the assembled by Annemarie Bäschlin Conditions of the Anthroposophical Move- ment in relation to the Anthroposophical As early as 1918 the reviews of public euryth- Society”. (GA 258, p. 146.) Taken from Entste- my performances began in such a way that hung und Entwicklung der Eurythmie. 3rd Rudolf Steiner suggested some principles to edition Dornach 31998. P. 216f. E.T. by Alan guide eurythmists in their public appearances: Stott forthcoming. “All these things may make us aware that it is exceedingly necessary for us to stand very EURYTHMY IN CRISIS? firmly on the ground of our endeavour: for – an aphorism nothing could lead us into greater confusion than the wish to come to any kind of com- Margareta Habekost, Helsinki promise with whatever the outside world might think fit that we ought to do. Only the “Eurythmy” can be as little in crisis as can principles of our endeavour must determine “anthroposophy”. Both are expressions of our action... The chance may come for us to the same being. But they can both withdraw present eurythmy in public: that is the very from the human community. occasion for us to stand on the firmest possi- Today we have traditionalized, experi- ble ground of our endeavour and do nothing mental, improvised and intensive (medita- whatsoever that does not emanate purely out tive) eurythmy, all seen in relation to the of eurythmy itself! Otherwise it would very stage event. soon be seen that – from a certain point on – –“One” no longer wants traditionalized no one might believe that I am flexible in any eurythmy because as a student and as a particular matter, if it depends on me alone. member of an audience one has experi- Most of you already know that of course enced it as passé, superfluous, uninvolved. everywhere, when it is not a question of any- –With experimental eurythmy one wants to thing fundamentally human, my attitude is experience, research and present one’s much the same as anyone else’s. But when own ego. This well-known phenomenon the limit is reached where anything funda- in the normal dance world can here gain mental should be denied – even to the least its own expression with the help of a train- degree – I would not be flexible.