Rudolf Steiner asserted that "in eurythmy the body becomes larynx". The question came by email: Why the larynx? Why not any other organ such as an ear?
What is so fundamental to speech and eurythmy movement? Was Steiner referring to speech merely as a metaphor for introducing eurythmy to the world? Let him speak for himself -
I would like to say that what we can call the Art of Eurythmy is not made of arbitrarily invented gestures, but has been taken over form a natural movement tendency in the human larynx and its nearby organs, from all the organs that take part in the forming of sounds. These movement tendencies in the larynx and other organs are then transferred to the whole human being. In this silent language of eurythmy, accompanied by speech or music, man as a whole performs like a larynx, so to speak. He becomes a larynx in the movement shown on the stage. In the same way, groups of eurythmists become a larynx. It is a little more difficult to find one's way into the eurythmy, because the movements are not arbitrary, not a combination of momentary gestures, but a taking over of unnoticed movements underlying the sounds in speech and making them visible.
- Rudolf Steiner: 21 March 1920, Dornach: Address for doctors, with a performance by children - The pedagogic-hygienic significance of eurythmy
This answer is only a beginning. What does the ear contribute to the work of the larynx? What defines the outer limit of each organ's activity? It is clear that the ear depends on the active receptivity of the larynx, and that we could not hear speech properly without the synchrony of the larynx. See William Condon's research on this phenomenon.
(http://www.edu-cyberpg.com/Literacy/whatresearchCondon.asp)
What does the instrument of a eurythmist do? It speaks in movement, and in speaking listens. The larynx is metamorphosed outwardly - becoming visible - and the ear is internalised as the eurythmist's kinesthetic experience, and sometimes as entrained somatic sensations in the actively observing spectator.
The larynx is not complete without the capacity of another's ear to sensitively receive its sounding voice. The human ear is not sufficiently able to distinguish the sounds that constitute words of human speech, according to Steiner. He asserts that we need the skill of the Genius of Language, an archangel, to distinguish the sounds of speech.
(Wisdom of Man, of the Soul and of the Spirit: Lecture 2. The full text is online at http://wn.rsarchive.org/Lectures/WisdoMan/19091025a01.html
To the question, what is movement, Steiner answered, "If you want to understand movement, study speech". Does Steiner imply that all movement is speech? If that is so, eurythmy can be seen to serve the Genius of Language in making the archangelic movements of language visible for all to see. Can we therefore imagine that in hearing speech, an archangel leans down and reaches into us so that we can hear the phonemes, the characteristic sounds of speech? In eurythmy we imbue the whole body with the movements of archangels. The whole takes up the task of the part. The larynx is revealed as the dancing ground of archangels.
All Movement is Speech
Yes, John, all movement is speech. In the future, when the human being moves, he (she) will leave tracks of color and form in the world space which will be interpretable by others. He (she) will be transparent but corporeal, an actual spirit in the company of other actual spirits. He (she) will be a sign in a cosmos of other cosmic signs.
The way to understand this future world of movement is by studying conversation, which is speech and interpretation, sign and movement, expression and meaning in the spaces that are characteristic of this epoch.
Does anyone here have an understanding of how to proceed with the study of conversation?
Yes I do.
"Does anyone have an understanding of how to proceed with the study of conversation?"
Hi Carl,
I know what you mean by proceed with the study of conversation, but its that word "proceed" that jumps out, followed by "study." I have no desire to lecture, but here are my insights based on experience so far.
Conversation is a gift.
You can't talk to any and everyone. Karma is involved.
Disappointment for me has always been traced back to myself arriving with a role (eg studier of conversation!")
Many long days and nights of silence is the best trainning for talking. Pity, but true for me.
Conversation is always risky though it doesn't start off that way. There is a moment of courage in all discourse when the ground disappears from underneath and silence is not an option.
Adversarial episodes are allowable and are all the more fun if the conversation is not conducted rigidly sitting down. So is swearing for emphasis too. One can be too deferrential toward the so called "polite" or "shy" people.
I love to listen, but I guard against patronising listening, where I adopt the role of the so-called listner.
We don't bother with themes at the moment and run the risk of dissolving at any moment in the evening. Sometimes that happens but so far we have reformed. It takes considerable restraint not to be critical at this point. So far restraint has been fruitful.
Ideas for ones contribution are audible/visible in the moment, but the form of words has to be fought for.
To speak or not to speak? When to utter? Given that we are there in freedom for the purpose of talk, I err on the side of speaking. It feels generous and playful. Give 'em a treat, I say. (this applies only in pre-agreed conversation periods)
thats all for now
Love
Bryn
Looks Pretty Good
This looks pretty good to me. It looks workable. I'll want to make a couple of suggestions, but they can wait.
How about others?
I think Steiner relates the
I think Steiner relates the larynx to eurythmy because just as the rose flower is formed out of the highest spiritual architypes, so is the sound that human beings can create. So the form of language comes out of, and is connected to everything.
The movements of the body that create sound create eurythmy too.
Makes perfect sense to me.
Now an interetting challenge beckons:
To dance eurythmy instead of speaking - in the moment!
To watch eurythmy as we listen to sound - in the moment to understand it!
To dance eurythmy in response!
This is possible without the air going coloured. But it wouldn't be easy.
The larynx creates all sound I think, speaking and singing.
Magic
Sebastian - I can confirm that your suggestion is a magical experience.
A very simplified form of this I sometimes put to beginners with much appreciation. Of course it would be far too difficult for experienced eurythmists...
;-D