Newsletter from the Section for the Arts of Eurythmy, Speech and Music Michaelmas 2004 1 TABLE OF CONTENTS Stage Forum Events organised by the Section 43 Central-Theater presents Solo Dance by Gia van den Akker (Leonore Welzin) . 2 Austin Eurythmy Ensemble (André Macco) . 3 Announcements A Deep Crisis in Eurythmy? (Christopher Cooper) . 3 ‘Towards the Edge’ – Poetry, Music, Eurythmy Eurythmy . 44 and Drama (Deborah Ravetz) . 4 Speech . 47 Music . 49 Puppetry . 50 Articles On the work of the Section for the Performing Arts Publications (Werner Barfod) . 5 Time; Truth and Art (Joachim Daniel) . 5 Annelies Rhebergen, NL-Warnsveld, and her A Plea for Joy or the Rebirth of Venus out of the Spirit Compositions for Piano (Annelies Rhebergen) . 50 of Eurythmy (Stefan Panizza) . 8 Marie Steiner Publishers, Bad Liebenzell The angle gestures: a confirmation of Eurythmy (Otto Ph. Sponsel) . 51 as Visible Singing (Bevis Stevens) . 9 Die Strophengestalt der „Zwölf Stimmungen“ The Sounds of the Evolution Sequence as Archetypes of (‘The verse form of Steiner’s ‘The Twelve Moods’) Education from the age 7 to 21 years (Dirk Klose) . 12 (Helge Philipp) . 52 What are Cosmic Forces? (Thomas Göbel) . 14 The Twelve Forms of the Soul-Body and the Creative Influences of the ‘I’ (Thomas Göbel) . 19 Miscellaneous Two short Reports from the Further Training of Eurythmy Teachers during the Eurythmy Teachers Gut Strings on String Instruments and the Soul Conference in January 2004, in Dornach . 23 (Magnus Schlichtig) . 52 The Seven Stages of Life—linking to the qualities of the Celebrate my 75th Birthday? – The Course of senses and the human form (Michael Schlesinger) . 25 Life’s Development and the Course of the Chi-Kung (Thomas Poplawski) . 26 Fixed Stars (Michael Schlesinger) . 52 The “New-Age” Movement, Energy Centres and Eurythmy (Sergej O. Prokofieff) . 27 Frédéric Chopin: 24 Préludes pour le pianoforte – Third party views on the dispute between Alan Stott and Robert Kolben (Julian Clarke) . 31 The 14th. Fugue of Bach’s The Art of Fugue (Edeltraud Zwiauer) . 32 Development and use of form-giving powers in drawing therapy (Elke Frieling) . 35 Sound Formation (Part 2) (Siegfried Meier) . 36 Reports In Honour of Catherine Carmack . 38 Texas: High-School Eurythmy Festival 2004 (Maren Stott) . 39 Eurythmy Forum from 19th to 23rd May, 2004 at Annener Berg, Witten (Marion Körner) . 40 Obituaries Ellena Prütz (Hjördis Marsch-Prütz) . 40 Marcus Michael Bäuerle (Rosemaria Bock) . 41 Catherine Carmack (Patricia Graham/Elizabeth Carmack) . 42 2 Dear Readers, The third Section Conference for musicians took place on inner listening, this time in the Music Seminary in Ham- Summer is upon us. Performances of Faust in all forms take burg. Alongside the Section Conference for Music, for Au- place regularly during the weekends since the premiere per- gust 2006, a Music Festival is planned. formances at Easter. This was a Festival with much positive A second meeting of the speech artists and actors in order participation from the general public, who appreciated the to work on needs and important questions, led to a com- achievements of the director and the stage artists. People mitted Section work. were amazed that it is possible today to do theatre in such a Our inter-Section work on aesthetics continued in June way. Besides the seasonal conferences at Easter and Pente- full of hope, with some guests: “The Art of Aesthetic Percep- cost, the compact-performances were very much enjoyed, tion in Science and in Art“. and, especially for Faust I, have attracted new audiences. We shall soon meet the 4th-Year Meeting of the Eurythmy The people initially were somewhat astonished or felt some- Trainings; 13 groups have registerd from the whole world. how estranged, but became ever more engaged and finally This year too we intend to discuss the performances. enthusiastic, responding with standing ovations. The Sum- The Michaelmas Conference meets with the theme of dif- mer Conferences till the end of August are before us, to ferentiated schooling in the School of Spiritual Science. which we hope many guests will attend. Our [Dornach] Stage faces drastic changes. A new leader- ship for the actors has to be found. The Schiller-Year is upon The Eurythmy Ensembles at the Goetheanum and in us with at least three great dramas, “The Bride of Messina” is Stuttgart with the Beethoven Symphony Programme always already being rehearsed. We are seeking a director for Stein- performed to sold-out houses and stirred up great enthusi- er’s Mystery Dramas, which are to be worked in another way. asm. In the autumn a big tour is planned with Beethoven’s At the same time, however, as everywhere, there are less 7th Symphony and the 3rd Symphony by Shostakovitsh. finances than are required. The Conference for Eurythmists directly after Easter in In all areas of the Section and on many levels and group- Stuttgart with c. 300 participants and co-workers was a live- ings intensive work is proceeding on deepening, and on con- ly meeting and working conference. The theme was worked temporary ways of working. In this time of change, the chal- on in courses and demonstrations; the lectures on musical lenge is tremendous to find the right steps for our arts for study-of-man by Dr Armin Husemann created an artistic, their deeper influence into the future. eurythmical, human mood. The performances in Rudolf The Calendar of Events of the Section you can find at the Steiner House showed our contemporary eurythmic situa- end of the Newsletter, Easter 2004, for the calendar year. tion. The big performances in the Hall of the Waldorf School, Events up to Easter 2005 are printed in this Newsletter. Uhlandshöhe, gave the whole thing a festive glow. After Easter 2006 the next public Eurythmy Conference, Yours, the third conference-impulse in education-for-all, will take place in Dornach. After Easter 2007, we hope in Dornach for a Conference for Eurythmists, which will be concerned with Steiner’s creations for eurythmy given after the Christmas Dornach, June 2004 Conference. STAGE FORUM Central-Theater presents Solo Dance “Grasduinen” means two things in Holland. As a noun it means by Gia van den Akker ‘grass dunes’, as a verb it means ‘strolling along, discovering “In Harmony with Wind and Water” something here, and finding something there’. With an effort- less strolling along, the artist finds something on the beach on Leonore Welzin the one hand, on the other hand she becomes inspired by the contemporary music and the performance art. In ethereal white costume, Gia van den Akker hovers to On the open stage she takes off and puts on parts of cos- Debussy’s “Le vent dans la plaine”, light-footed before a tumes, in a hooped skirt under the fine gold-red Organza, video-picture consisting of beach grass and moving clouds. she appears formal like a porcelain figure. In poses and ges- Sometimes she takes a parallel direction to the movement of tures of the Renaissance dances, Allemande, Courante and the clouds and the wind, sometimes she remains still like an Menuet, she refers to Bach’s Suite for solo cello. Thereby the angel with raised arms, who feels the shadow on her back. eurythmist and teacher at the Hochschule Helicon, The “Grasduinen”, performance of the dancer from The Hague in Hague, does not succumb without reflection to the euryth- the Central Theatre, Esslingen, fascinated the audience mic dogma to make the music visible. To compositions by especially through the harmonic interplay of dance and Bach, Berio (Water Piano and Earth Piano) Cage (Seven music full of poesy, accompanied by Lodewijk Crommelin, Haikus), Debussy and Ligeti she sensitively balances the cre- piano, and Anni Tangberg, cello. ative spaces of interplay: “When do I let go music eurythmy? “When the wind aggressively drives the clouds along, I How far do I go into slow-motion movements? When do I become still, I want to experience the sensual sensations dive fully into the music again? There are dramaturgical afresh like a first impression”, says van den Akker. The title questions which make these choreographic miniatures, STAGE FORUM 3 despite small weaknesses in the entrances and exits, into an exciting event. Not least thanks to a supporting dialogue of This autumn, the Austin Eurythmy Ensemble tours for the lighting (Prometheus Lighting) and video projection. first time in Europe. The new evening programme “Voices of The dancer Gia van den Akker from The Hague embodies the Hereafter” includes works for piano and cello by Ben- in her solo performance new beginnings in an over 90-year- jamin Britten, Samuel Barber and Alberto Ginastera, and old dance tradition, eurythmy. Despite slim figure and the poetry and prose by James Weldon Johnson, Denise Lever- thematic nearness to nature, corresponding to the aesthet- tov, Federico Gárcia Lórca, and others. In addition, the per- ic ideals of Jugendstil, van den Akker does not lose herself in formance includes a story from the cultural heritage of the floral ornamentation, but seeks counterpoints in the here Haida native Americans, using original Red Indian wooden and now. For this the best example is the reflex-like jerks to masks: “Why Raven is no longer... “. In Stuttgart and Bonn, a Ligeti’s ‘Musica Ricercata’, with which left and right arm, public matinée performance of the Russian fairy-tale beginning with the fingers, rhythmically independent and “Fenist, the Falcon” is given—children and their families are with asymmetrical gesture, intensifies to an energetic erup- warmly welcome! tion that engages the whole body. Unlike Loie Fuller, who indulged in an ecstasy of colour, she does not strain quick Contact: Austin Eurythmy Ensemble and colourful light-changes, but uses slow lighting, finely P.O.