Newsletter from the Section for the Arts of Eurythmy, Speech and Music Easter 2008 1 TABLE OF CONTENTS Topical Forum Obituaries Eurythmy Today—Thoughts of a eurythmy student Poem for Ruth Unger (Ruth Dubach) . 33 (Jakob M. von Verschuer) . 3 Ilse Hackländer (from notes by Ilse Hackländer, Eurythmy and Tradition (Rosemaria Bock) . 3 supplemented by Beate Blume) . 33 Poems for Paul Theodor and Waldtraut Baravalle (Ruth Dubach) . 35 Articles When speech becomes the gold of revelation—Thoughts on the death of Paul Theodor Baravalle and Waldtraut Letters on Eurythmy, No. 15. Baravalle (Branko Ljubic) . 36 Conversation between Olga Samyslowa and Günther Arnulf (Kopsch) (Diana-Maria Sagvosdkina) . 38 Annemarie Dubach-Donath . 6 Dorothea Mendel (Beate Krützkamp) . 40 A Study on the Essence of Eurythmy Marga Tuschhoff (Danielle Volkart) . 41 (Klara Raeck-Mauchle) . 8 Marjorie Spock (Nancy K. Parsons) . 43 The “Nothing” and Eurythmy (Rosemaria Bock) . 10 “The most essential thing in eurythmical movement...” Stimuli to fashioning rests and pauses, Part 1 Announcements (Daniel Marston) . 15 Rückbesinnung auf die «Musike» (Christian Maurer) . 17 Eurythmy . 44 Vowel Exercises by Dorothea Mendel Speech / Acting . 51 (Beate Krützkamp) . 19 Music . 52 Puppetry . 52 Reports Publications / Book Reviews “Eurythmy in Daily Life” or “The Eurythmical WORKOUT” (Margrethe Skou Larsen) . 20 Tonnie Brount & Helga Daniel. Bewegt ins Leben A Journey—A Review of the Summer Eurythmy Academy [Moved into life] for eurythmy in Classes 1 – 4 . 53 2007 (Andrea Weder) . 21 Christian Maurer. Sprechen in der Schule The Indigo-Crystal Children and the New Will [Speaking in school](Martin Georg Martens) . 53 (Jean Schweizer) . 22 Katharina Gleser. Die Eurythmiemeditation Two weeks in summer for eurythmists, eurythmy [The meditation for eurythmists] students and amateurs in “La Fabbrica” (Elisabeth Göbel) . 53 (I. Rennhack, S. Thylmann / Karolin Ehnes) . 23 Now in French: Rudolf Steiner. Aux origines de l’Eurythmie The Foundation-Stone Meditation Lighting Project [“Eurythmy: Its Birth and Development”] GA 277a (Melissa Harwood & John Watson) . 24 Translation and presentation by Amélie Lange “Lichtspuren –Trails of light” – Else Klink’s Centenary (Katharina Zay) . 54 (Ulrike Wendt) . 25 Symphony/ Eurythmy 2008 (Ulrike Wendt) . 26 “The Expression of Music in Movement through the Princi - Biographical ples of Tone Eurythmy” Eurythmy Choreography Exam Performance of Silke Sponheuer for her Masters Degree Russian Eurythmy with Tatiana Kisseleff in Music (Liz Smith) . 26 (Brigitte Schreckenbach) . 55 A late obituary—No longer a training in speech Barbara Beedham is 80! (Alan Stott) . 56 formation in Alfter (Sabine Eberleh) . 28 A single note? Musicians’ Conference in Vidaråsen, Norway, with Michael Kurtz (Holger Arden) . 28 The Lyre and Eurythmy (Michael Kurtz) . 29 Miscellaneous “Josef Matthias Hauer and music eurythmy” Music-Eurythmy Seminar (Manuela Laufenberg) . 30 Who has bibliographical references on the “Cook, little pot!” Puppetry Seminar with Monika Lüthi beginning of speech formation? . 57 and Mathias Ganz (Herbert Lippmann) . 30 Puppetry Working-Days, January 2008 (Gudrun Ehm) . 31 2 FOREWORD Dear Colleagues, Since the previous issue, Michaelmas 2007, the transition In the Section some things have changed in the realm of period in handing over the leadership of the Section has tak - responsibility: en place. First of all I would like to express most warm Michael Kurz continues to be responsible for Music. thanks. During the course of the past seven years Werner Trond Solstad takes over the department of Speech/Acting, Barfod has achieved tremendous things for the Section. His administration of the Section, and book-keeping. ability to look ahead, to take up tasks before one is forced to Warm thanks to Agnes Zehnter for her work in the depart - do them, has brought much positive results at various levels. ment for Speech/Acting. She will continue to be active for Section committees, working-groups within the difference the Section with the work for speech in the Steiner-Waldorf realms of our Section, have been formed to discuss the situ - Schools, for which we are most grateful.Warm thanks to you, ation and where possible to develop initiatives early enough too, Thomas Didden, for your work as bursar. to be able to offer help. Some of these groups have disband - Dagmar Horstmann has hitherto been responsible for pup - ed, having completed their work. Other groups remain till petry. This now changes as members of the Advisory Com - the summer, when their constellation and tasks will be mittee take on the various tasks. Many thanks, Dagmar, for reviewed. From Werner Barfod I have received all the sup - your good work. She continues to prepare and copy-edit port and help necessary to be able to grow into my new tasks, both versions, German and English, of our Newsletter — and for this I thank you, Werner, most warmly. thanks a ton! [Our two translators for the English-speaking May your strong driving force continue to bear fruit for art! version also continue their work Tr. note .] Alongside leading the Section, Werner Barfod fully carried responsibility for the Newsletter —thanks too for that! I will At this point another tribute should be made: Doris Bianchi, do my best to retain the quality that meanwhile has been who was daily active for 33 years at the Goetheanum, retired established. last autumn. She worked with four different Section leaders, This, however, depends on you all. When you have ideas, and one has the feeling that she knew almost every member reports, and concerns that you want to share with other col - of the Section. leagues in our Section—please let us know. This Newsletter Dear Doris, we are many who want to thank you most warm - is formed by ourselves, from our work, research, and experi - ly for your tireless work for the Section. I am most happy that ences. In connection with this, I warmly invite you to con - we stay in contact, since you remain active in the realm of tinue to support the Newsletter through regular financial our Section as Secretary of the Eurythmeum Zuccoli. contributions. I assume that by the time the next issue of the Newsletter appears, the Working and Advisory Committee will have found its new form, and I shall then be able to report in more detail on future Section work. With warm greetings http://www.goetheanum.org/srmk.html TOPICAL FORUM 3 TOPICAL FORUM Eurythmy Today in practice a deep impression always remains.When a eury - Thoughts of a eurythmy student on the situation thmist is able even for a short moment to allow the music to of eurythmy, in response to the Eurythmy Solo sing or the speech to sound through him/her, so that the Festival in Alfter-Bonn, October 2007 spiritual context of the music or speech become visible, then something magical happens that deeply moves the audi - ence. Then forces are at work, which, with merely a simple Jakob M. von Verschuer, 2nd year eurythmy student at the Alanus Hochschule in Alfter listening to music and speech, can only be intimated. With the audience, to use R. Steiner’s concepts, true Imaginations can arise. Such moments, of course, can only seldom be To decide to enter a eurythmy training involves a risk. A risk experienced, but they are possible. I believe they are only on a social and also a personal level, because on the one impossible for the person for whom they are not an aim. Of hand the training with its intense collaboration between course, it takes a tremendous artistic effort to master this one’s fellow-students is a great social challenge, and on the task, but this, I think, is what we have to undertake. other hand it is quite a personal adventure because of the With many of today’s stage-eurythmists, who amongst demanded deep personal development through the unfold - others could be experienced at the Solo Festival, I did not ing of the supersensory members. As if this were not excit - perceive that they do work in this direction. According to my ing enough, as a student today one has to deal with a great impression, the variety of performances of these euryth - insecurity of what eurythmy actually is. Each teacher basi - mists was not concerned with the spiritual dimension of cally brings his/her own view of what eurythmy is. “Euryth - speech and music and its portrayal in movement. Much my” [on the continent] does not seem to exist any more, and rather the concern was with a personal artistic statement the borders between the arts are difficult to define as never that used music and speech in the framework of a perfor - before. This was clearly shown at the Eurythmy-Solo Festi - mance to support an individual expression of art.These per - val last October in Alfter, near Bonn. formance-eurythmists, as I would like to term them, are, It also showed that for eurythmists today (especially stage- nevertheless, as far as I could see mostly more truthful and eurythmists) it is very difficult to lay hold of eurythmy. A pos - grounded in their art as other, more traditionally orientated sible reason could be that the impulse of the pioneer stage stage-eurythmists. I do not want to denigrate the work of the has largely faded away and the conditions, compared to the one or the other. I think all these eurythmists have in a cer - time of the development of eurythmy, have in a certain way tain way understood the problem and in their manner are drastically changed. The constitution of the human being searching for a new grip in eurythmy. I only have the impres - today in general and his relationship to his body has sion that not all the roads will “lead to Rome”. changed through the technological advances of society.