{"id":72043,"date":"2026-04-29T08:30:00","date_gmt":"2026-04-29T06:30:00","guid":{"rendered":"https:\/\/dasgoetheanum.com\/?p=72043"},"modified":"2026-04-30T01:24:49","modified_gmt":"2026-04-29T23:24:49","slug":"a-colorful-being","status":"publish","type":"post","link":"https:\/\/dasgoetheanum.com\/en\/a-colorful-being\/","title":{"rendered":"A Colorful Being"},"content":{"rendered":"\n

Martina Maria Sam and Stefan Hasler have re-edited and expanded all the volumes on eurythmy in the [German] Gesamtausgabe (GA) [Collected Works (CW)]. This work provides a breath of fresh air and a solid foundation for the second century of eurythmy. Here\u2019s a conversation with them and the eurythmist Ulrike Wendt with questions from Wolfgang Held.<\/strong><\/p>\n\n\n\n

\n\n\n\n

Wolfgang Held: All the eurythmy volumes have now been reissued with new commentary: is this the completion of a major project?<\/strong><\/p>\n\n\n\n

Martina Maria Sam<\/strong>:\u00a0In 2012, Stefan Hasler and Felix Lindenmaier had the idea of reissuing the Tone Eurythmy Course as a textbook with commentary and instructional indications. Then the Rudolf Steiner Nachlassverwaltung [Estate Administration] expressed the wish that the volume be planned as part of the Gesamtausgabe [Collected Works]. But within this framework, it could not be a textbook; instead, it had to be published according to the principles of the Collected Works. This meant that someone familiar with the edition of Rudolf Steiner\u2019s lectures had to be involved. I was asked to take on this role. I remember having some slight reservations at the time, because I was concerned that Stefan, as a eurythmy teacher, might want to add too much of his own interpretation to Rudolf Steiner\u2019s words. I didn\u2019t know him very well yet. It soon became clear, though, that he felt completely committed to Rudolf Steiner\u2019s wording and quickly found his way into the style of the publication.<\/p>\n\n\n\n

Was that your first foray into editing?<\/strong><\/p>\n\n\n\n

Stefan Hasler<\/strong>:\u00a0Yes. Before that, I was engaged in research on tone eurythmy to understand more fully what Steiner had so ingeniously developed in such a concise manner. I had never thought I would become an editor of Steiner\u2019s eurythmy volumes, and yet life led Martina and me along this path over the course of 14 years. We were joined by specialist colleagues whom we brought in: Felix Lindenmaier as a music theorist for the tone eurythmy course, and Dino Wendtland for the eurythmy figures. A small team was formed for each volume.<\/p>\n\n\n\n

Sam<\/strong>:\u00a0Stefan is someone who can quickly grasp the unfamiliar. That was certainly the case here with the editorial work. Over the past years, we\u2019ve gone through all the eurythmy archive material; we\u2019ve had every single note in our hands, including those in the Goetheanum Archive. As a result, two new volumes were added that we hadn\u2019t planned at all\u2014the volume on eurythmy figures and the volume with indications for various languages.<\/p>\n\n\n\n

Hasler<\/strong>:\u00a0We diligently worked through 180 notebooks and 100 loose notes and reviewed all the documents left by the pioneer eurythmists. Sometimes there were three boxes, sometimes twenty. We dug all around, through their whole surroundings; wherever we could find someone from their families\u2014a grandchild or an aunt\u2014we spoke to them and wrote to them. We drove everyone crazy.<\/p>\n\n\n\n

Ulrike, what was the response from your eurythmy colleagues?<\/strong><\/p>\n\n\n\n

Ulrike Wendt<\/strong>:\u00a0I can\u2019t speak for the entire movement. But what has become visible in the new editions of the Speech and Tone Courses has certainly had an impact! Having access to the many notes of the first eurythmists and being able to compare them with my own experiences and struggles is an enormous benefit. For me, it is also an act of liberation\u2014a liberation that comes from looking into the past seriously and carefully.<\/p>\n\n\n\n

When I think of the many eurythmy figures, what seems to have emerged is a multiplicity rather than the supposed unity.<\/strong><\/p>\n\n\n\n

Wendt<\/strong>:\u00a0And within this diversity, as a eurythmist, I can and must determine my own path. I can no longer rely on a single tradition to define my artistic direction. Now I have five different sketches for a zodiac gesture. I can try them all out and ask: How do the gestures work when I perform them this way or that? Following the phase of oral tradition, which has always supplemented the transcripts of lectures and courses, it is now possible to trace how this or that came about, and what variations already existed back then. That is a great gift.<\/p>\n\n\n\n

No uncertainty?<\/strong><\/p>\n\n\n\n

Wendt<\/strong>:\u00a0I experience this more as a call to not merely adopt eurythmy out of tradition but to continually question and re-create from deep within.<\/p>\n\n\n\n

I was working through a commentary about Mercury that took place during the Speech Eurythmy Course. From the transcripts, I could see how quickly Steiner developed the cosmic gestures: it was less of an inauguration and more of an impromptu workshop. Has your impression of the beginning days changed as a result of your work?<\/strong><\/p>\n\n\n\n

Hasler<\/strong>:\u00a0What we can now experience and understand more consciously is how nuanced Steiner\u2019s work with each person was, how situational and flexible he was, even while remaining true to the archetype. What it came down to for him was not merely to give a lecture on some ideal but to realize it. This is liberating for our daily work, because we experience that this spontaneous, concrete work with people is the real work. When I take what we now know seriously, then I work from a completely different methodological background.<\/p>\n\n\n\n

Do you have an example?<\/strong><\/p>\n\n\n\n

Hasler<\/strong>:\u00a0For Lory Smits, an 18-year-old, the way to find the gesture for \u201cA\u201d was given as a depiction of a feeling, of wonder, of a sunrise. Tatjana Kisseleff\u2019s description, on the other hand, focuses on the formal aspect: \u201cA is an angle.\u201d These are contrasting descriptions of the same vowel sound.<\/p>\n\n\n\n

Sam<\/strong>:\u00a0Apparently, it was in part because things had developed so differently that Rudolf Steiner decided to give the Speech Eurythmy Course: in order to catch this diversity somewhat\u2014those personal idiosyncrasies that had taken shape in eurythmy. Originally, the course was meant to be only for eurythmy teachers. But due to the great interest, special needs educators, priests, and other members were also allowed to join. The course was actually meant as a contemplation and reflection on what had been achieved. With this in mind, Rudolf Steiner summarized everything he had already given about eurythmy and expanded upon it throughout the course.<\/p>\n\n\n\n

So, discovering the breadth of Rudolf Steiner\u2019s creations applies to many areas of anthroposophy.<\/strong><\/p>\n\n\n\n

Hasler<\/strong>:\u00a0All those pioneers\u2014the many female eurythmists and the few male eurythmists\u2014had been seen by Steiner and felt supported by him. They had been working and practicing all day long and had little opportunity to reflect on what came from Steiner. Even on the weekends, they attended lectures. They had neither the time nor the resources to internally process all that input. This gave rise to many misunderstandings among them, which led to painful separations. The question of how we engage with Rudolf Steiner\u2019s work is, in fact, particularly salient in eurythmy.<\/p>\n\n\n\n

Sam<\/strong>:\u00a0In 2012, we marked the 100th anniversary of eurythmy and felt that a long stream of tradition had come irreversibly to an end. Now we must find a different source of inspiration than before. It is remarkable that we began the new editions exactly 100 years after the birth of eurythmy, in 2012. Ulrike already hinted at it: by looking at what was really there back then, we are loosening ourselves from a tradition that has sometimes become too rigid. And so, I hope that every reader will now engage with the books in a practical way and find their own personal connection to the sources of inspiration. It was a fortunate circumstance for us to work together as a team. Although I am also a eurythmist, I have been more at home in editorial work for a few decades now, while Stefan is actively engaged in daily practical work. So, we complemented each other rather well. It turned out that, following our example, colleagues in the fields of agriculture, pedagogy, and special needs education also published such annotated editions of Rudolf Steiner\u2019s lecture courses.<\/p>\n\n\n\n

Does that also mean a kind of disenchantment?<\/strong><\/p>\n\n\n\n

Wendt<\/strong>:\u00a0Quite the opposite! In eurythmy schools, the principle used to be: Everything is told to me, and I just have to carry it out. I\u2019m exaggerating a bit\u2014of course, there were other approaches as well, and individual steps toward change. One such step for me came around the turn of the millennium, when the Goetheanum Eurythmy Ensemble and the Stuttgart Eurythmeum collaborated for the first time on the three major symphony projects. We younger ensemble members realized that we could move together quite naturally, even though we came from different schools. With the newly edited eurythmy volumes, these experiences are given a foundation. I stand in awe of Steiner\u2019s achievement. He incorporated the personalities of the eurythmists and, through them, was able to convey the universal sources of gesture.<\/p>\n\n\n\n

Hasler<\/strong>:\u00a0I also believe this is not a disenchantment, but rather that we are getting closer to the actual creative moment. Still, we shouldn\u2019t forget: We would not be where we are today if tradition and oral transmission had not sustained us. That is why I express my deepest respect and gratitude for the fact that we have this. I also don\u2019t want to hide the fact that for some colleagues, the publication of these volumes is an imposition, because the diversity and contradictions we are now encountering regarding the sources of eurythmy are undermining beliefs that were once held to be certain. In theory, everyone will probably agree to such an imposition, but in practice, this is not necessarily the case. It will be exciting over the years to come, because the process is not concluded with these volumes but is only just beginning. This is merely the starting point for everyone to learn to cope with this deliberate uncertainty in order to reconnect with the source.<\/p>\n\n\n

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Figures of the soul gestures from the 1924 Speech Eurythmy Course, CW 279: \u201cExhilaration,\u201d \u201cDamn clever,\u201d \u201cKnowledge.\u201d<\/figcaption><\/figure><\/div>\n\n\n

What else might this edition inspire?<\/strong><\/p>\n\n\n\n

Wendt<\/strong>:\u00a0Joyful expansiveness and openness, including in communication! I used to work in opera and am familiar with all the performing arts. These arts are centuries or millennia old and continue to evolve. Eurythmy came to Earth in a very short time through a single personality: Rudolf Steiner. This means that we must first make it manageable on an earthly level, but at the same time\u2014in keeping with our cultural epoch\u2014reflect upon it and develop it further. What has developed successively over a long period of time in other arts comes together simultaneously in eurythmy. This aligns with the consciousness soul\u2014this \u201cboth-and\u201d\u2014that it is about the incarnation of eurythmy and, at the same time, its reflection and transformation.<\/p>\n\n\n\n

Sam<\/strong>:\u00a0I can well understand that a person who has learned eurythmy in a specific way may then find it difficult to try or to take on new things. After all, it is largely a question of destiny which stream of tradition one has grown up in. But this is precisely where the question arises for eurythmy pedagogy: how to teach students in such a way that they do not just obediently do what they once learned in order to be a \u201cgood student.\u201d The instruction must be structured in such a way that this interest for research is awakened. This consciousness of what I am doing and what my sources are\u2014in my view, we must cultivate this today if eurythmy is to survive.<\/p>\n\n\n\n

Hasler<\/strong>:\u00a0Music, literature, theater\u2014these arts all have a corresponding academic discipline on their side, such as literary studies or theater studies. That is where aesthetic reflection takes place, which can then enrich and fructify the art. But the moment I am artistically active myself, I don\u2019t want to reflect at all. That\u2019s where I just want to express my work. In eurythmy, we cannot yet speak of having a department of eurythmy studies, so it is up to us eurythmists to engage in reflection and aesthetics ourselves. I agree with both of you on this: it is a step in our development that we can now take after 100 years. Perhaps we don\u2019t necessarily need a purely theoretical study of eurythmy.<\/p>\n\n\n\n

Sam<\/strong>:\u00a0It was perhaps a bit of a false path when the study of the arts separated from the practical activity. After all, anthroposophy calls for the reunification of knowledge and art. And in eurythmy, too, every human being must individually bring these together within themselves\u2014even if one is more of a practitioner and another more of a theorist. But these should not be separated into theory and practice.<\/p>\n\n\n\n

Wendt<\/strong>:\u00a0Perhaps the eurythmy traditions, in their embeddedness in anthroposophy, have taken on too much of a revelatory character. Art requires transformation, and Steiner always said: \u201cEurythmy is only beginning.\u201d But he didn\u2019t mean that we should do the same thing for a hundred years until it becomes ever more beautiful, but rather that people should follow those who develop these beginnings further from within the subject itself, both artistically and in the different fields of applied work. Indeed, Rudolf Steiner himself identified such perspectives from the very beginning. Already with the earliest indications given to Lory Smits, therapy and pedagogy were directly incorporated into the first gestures and basic exercises. There\u2019s a wonderful opportunity here to open up the diversity of these instructions as a source of inspiration for one\u2019s own practice and research.<\/p>\n\n\n\n

Does the judgement, which used to cut like a knife\u2014\u201cThat\u2019s not eurythmy\u201d\u2014also need to change?<\/strong><\/p>\n\n\n\n

Hasler<\/strong>:\u00a0That has already changed\u2014the different approaches inspire us more with regard to the diversity of eurythmy than with regard to its unity. Today, we are more interested in the special color each person brings.<\/p>\n\n\n\n

Has the culture of the past twenty years\u2014of showing each other productions and discussing impressions\u2014laid the groundwork for this?<\/strong><\/p>\n\n\n\n

Hasler<\/strong>:\u00a0Yes, and what has helped us all is internationalization. Thanks to all these different cultures, we\u2019re simply so much richer and have a much broader perspective. If you look at this year\u2019s summer performance\u2014from Taiwan to South America\u2014eurythmy appears very differentiated.<\/p>\n\n\n\n

Wendt<\/strong>: The diversity of professional fields in eurythmy has also grown. The artistic stream is no longer the only defining factor. For me, Rudolf Steiners Angaben zur Eurythmie in verschiedenen Sprachen<\/em> [Rudolf Steiner\u2019s indications for eurythmy in various languages], which you, Stefan, have compiled and edited, is a very important publication because, by comparing these indications, we learn to understand how a language develops and manifests itself in eurythmy. We can study the soul and spiritual criteria that determine why something is called one thing in this language and another in that language, and why it should be moved and shaped in a corresponding way. In many ways, this opens our eyes to what is essential.<\/p>\n\n\n\n

Do you have an example?<\/strong><\/p>\n\n\n\n

Wendt<\/strong>:\u00a0The Dutch language brings the characteristics of German into something elemental, something colorful. When one understands how a language takes on a special character here and takes into account Steiner\u2019s statement about the workings of folk spirits, then cultural diversity can be experienced not only intellectually and socially, but as something that permeates life itself.<\/p>\n\n\n\n

What\u2019s your favorite volume, Stefan?<\/strong><\/p>\n\n\n\n

Hasler<\/strong>:\u00a0All of them! At first, I thought the Tone Eurythmy Course was the most important one and that the Speech Eurythmy Course wouldn\u2019t offer anything new. In the end, though, that\u2019s where so many new insights emerged. In that sense, it\u2019s become my next favorite volume. Then we moved on to the Apollonian Course, where we spent four years struggling to sift through all the material and turn that abundance of information into a readable publication. I\u2019m thrilled with this volume, and wherever I\u2019m visiting, I give a course on it\u2014recently in Ireland, this summer in China. I\u2019m not exaggerating, I love them all!<\/p>\n\n\n\n

Martina, what about you?<\/strong><\/p>\n\n\n\n

Sam<\/strong>:\u00a0Each of these eurythmy books has its own color. What moved and surprised me the most was the moment when Edith Maryon\u2019s many original eurythmy figures appeared. They opened up a whole new way to enter into this aspect of eurythmy.<\/p>\n\n\n\n

That\u2019s now the foundation. Are there interpretations and commentaries to follow?<\/strong><\/p>\n\n\n\n

Hasler<\/strong>:\u00a0We said we would work on the material up to 1925\u2014that is, up to Steiner\u2019s death\u2014and no further. Research-wise, we could continue by following up on the pioneers of eurythmy. How did Tatjana Kisseleff develop in Paris? What did others do in other places? What was developed here in Dornach?<\/p>\n\n\n\n

What does this work mean for eurythmy in its conversation with other arts?<\/strong><\/p>\n\n\n\n

Wendt<\/strong>:\u00a0It gives us a different starting point. I\u2019ve also worked on projects with dancers, and they were extremely open to dialogue and interested in what we do. Often, it\u2019s the eurythmists who haven\u2019t yet found the words to explain themselves to others. And that is indeed not so easy, because every professional field\u2014therapy, art, education\u2014has to develop its own approach.<\/p>\n\n\n\n

Hasler<\/strong>:\u00a0I want to highlight three things. The first: this research work and publication would have been unthinkable without Martina. You are a Steiner expert all the way down to your fingertips, and while we were working, you were also engaged with work on Steiner\u2019s biography and letters. You are a eurythmist; you understand the questions from within the movements themselves. And you are a scholar; you know how to research and document. The second thing is that I believe we really caught the right moment. We now have 180 original eurythmy figures by Edith Maryon! In ten or twenty years, we probably wouldn\u2019t have been able to find them anymore. Most of the owners had no idea what a treasure they possessed! Even now, individuals are still coming forward and bringing in more figures. It\u2019s a propitious moment to the point that we even felt: the first eurythmists in heaven are delighted when we place all these different things side by side. And third: What hasn\u2019t been fully published yet, but is still in the works, are the lighting and costume indications. Much of this is already available on the Section\u2019s website and can be downloaded as a PDF.<\/span>1<\/sup><\/a><\/span><\/p>\n\n\n\n

Sam<\/strong>:\u00a0With everything we have republished recently, our admiration for our predecessors has grown ever deeper. Marie Steiner, and later Eva and Edwin Frob\u00f6se, accomplished something unbelievable\u2014just think of all the letters and documents they collected and compiled! Fifty years have passed since then. It can be painful to have to take a step beyond that work\u2014as though we may be destroying something, in a way, which is a sentiment shared by some readers. We deeply treasure the work done in the past. But still, we realize that a new time requires a different presentation, a comprehensive exposition and clarification of all sources. The synthesis and evaluation\u2014that is, what the earlier editors did for us\u2014must now be undertaken by each person individually.<\/p>\n\n\n\n

Has the being of Eurythmia, the inner essence of this one-hundred-year movement, come forward?<\/strong><\/p>\n\n\n\n

Sam<\/strong>:\u00a0I have an intimate relationship with speech, whose creative, living aspect is so often overlooked today because we focus solely on the thought content, the meaning, the \u201cinformation.\u201d It struck me deeply how eurythmy enables us to consciously experience the creative side of speech. The gestures of the speech sounds are the creative gestures of the world! What an opportunity to consciously relate to the being of speech, to the Logos being. What a rich treasure Rudolf Steiner has given us by indicating how we can express the nuances of speech through our form and our movements, and by revealing new, inspiring aspects of speech and its meaning in his introductions to performances and addresses on eurythmy.<\/p>\n\n\n\n

Wendt<\/strong>:\u00a0For me, it is the zodiac and planetary gestures that are enriched by these variations. We have always sought to get to the authentic reality through these different interpretations. The drawings based on the memories of the eurythmists who were there at the time are a wonderful addition. I am repeatedly filled with deep reverence for how Steiner succeeded in condensing incomprehensibly vast cosmic lawfulness into two arm movements. I place myself within them as a human being, with all the strength and devotion of my individuality, to fill this gesture with living presence. Through the individual variations, one can train oneself to find one\u2019s own connection to the source in order to unfold the force of each gesture.<\/p>\n\n\n\n

Hasler<\/strong>:\u00a0Over the years, I have come to realize just how strong this being of eurythmy is. In my work, I have taken great joy in discovering how colorful and multifaceted this being is. And I have experienced how eurythmy also offers a possibility to practice and incarnate anthroposophy.<\/p>\n\n\n\n

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German Publications on Eurythmy Since 2012<\/h3>\n\n\n\n
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  • Rudolf Steiner,\u00a0Eurythmie als sichtbarer Gesang (Toneurythmiekurs)<\/em> <\/strong>[Eurythmy as visible singing (Tone Eurythmy Course)],\u00a0GA\u00a0278, 7th edn. (Basel 2016), edited by the Rudolf Steiner Nachlassverwaltung [Estate administration] by Martina Maria Sam, Stefan Hasler, and Felix Lindenmaier. Two lectures on \u201cThe Experience of Tone in the Human Being\u201d from 1923; eight lectures on tone eurythmy from 1924; participant notes on the tone eurythmy indications from the 1915 Apollonian Course. The Tone Course, featuring entirely new indications for tone eurythmy, was given for a small group of advanced eurythmists in February 1924.<\/li>\n\n\n\n
  • Rudolf Steiner,\u00a0Eurythmie als sichtbare Sprache (Lauteurythmiekurs)<\/em> <\/strong>[Eurythmy as visible speech (Speech Eurythmy Course)],\u00a0GA\u00a0279, 6th edn. (Basel 2019), edited by the Rudolf Steiner Nachlassverwaltung by Martina Maria Sam and Stefan Hasler. 15 lectures on speech eurythmy from 1924, supplemented by notebook entries, programs, participant notes, drawings, etc. In this course for eurythmy teachers and students, Rudolf Steiner again summarized the fundamentals of speech eurythmy but also introduced essential new elements\u2014such as the planetary and zodiac gestures and the eurythmy meditation.<\/li>\n\n\n\n
  • Rudolf Steiner,\u00a0Eurythmiefiguren aus der Entstehungszeit<\/em> <\/strong>[Eurythmy figures from the time of their first creation], GA K26b (Basel 2018), edited by the Rudolf Steiner Nachlassverwaltung by Martina Maria Sam, Stefan Hasler, and Dino Wendtland. 107 eurythmy figures created by Edith Maryon and Rudolf Steiner from 1922 to 1924, presented as a catalog and 64 separate plates, with introductory texts on their origin, significance, and production.<\/li>\n\n\n\n
  • Rudolf Steiner,\u00a0Die Entstehung und Entwicklung der Eurythmie<\/em> <\/strong>[The origins and development of eurythmy], GA 277a\u2013d, (Basel 2022, 2023, 2024, 2025), edited by the Rudolf Steiner Nachlassverwaltung by Martina Maria Sam and Stefan Hasler. GA 277a comprises all of Rudolf Steiner\u2019s first indications for eurythmy, particularly the courses from 1912 and 1915 with all notes by him and those who participated, as well as his first addresses\u2014English translation is forthcoming from Rudolf Steiner Press; GA 277b: addresses fall 1918 to fall 1920; GA 277c: fall 1920 to the end of 1922; GA 277d: 1923 to 1925. The addresses are supplemented by notebook entries, programs, posters, advertisements, and excerpts from lectures.<\/li>\n\n\n\n
  • Stefan Hasler, ed.,\u00a0Der Toneurythmiekurs von Rudolf Steiner<\/em> <\/strong>[Rudolf Steiner\u2019s Tone Eurythmy Course] (Dornach 2014). Commentary on the Tone Eurythmy Course, featuring 15 essays by eurythmists and musicians.<\/li>\n\n\n\n
  • Stefan Hasler, ed.,\u00a0Rudolf Steiners Angaben zur Eurythmie in verschiedenen Sprachen<\/em> <\/strong>[Rudolf Steiner\u2019s indications for eurythmy in various languages] (Dornach 2018). Notes by pioneer eurythmists on eurythmy indications for English, French, Dutch, Swedish, Danish, Russian, Italian, and Hungarian. [Includes sections in English<\/strong>, French, Dutch, Swedish, Danish, Russian, Italian, Hungarian<\/em>].<\/li>\n\n\n\n
  • Reinhild Brass, Stefan Hasler, eds., \u201cDas Tonerlebnis im Menschen\u201d von Rudolf Steiner<\/strong><\/em> [\u201cThe experience of tone in the human being\u201d by Rudolf Steiner] (Dornach 2019). Commentaries on the lectures, \u201cThe Experience of Tone in the Human Being,\u201d featuring 21 contributions by eurythmists and musicians.<\/li>\n\n\n\n
  • Martina Maria Sam, Stefan Hasler, eds., Sichtbare Sprache: Beitr\u00e4ge zum Lauteurythmiekurs Rudolf Steiners<\/em> <\/strong>[Visible speech: Contributions to Rudolf Steiner\u2019s Speech Eurythmy Course] (Dornach 2020). Commentary on the Speech Eurythmy Course, featuring 14 contributions by eurythmists, speech artists, physicians, and priests.<\/li>\n\n\n\n
  • Stefan Hasler, Felix Lindenmaier, Margrethe Solstad,\u00a0Die Toneurythmieformen von Rudolf Steiner<\/em> <\/strong>[The tone eurythmy forms of Rudolf Steiner] (Dornach 2009). Selected examples of tone eurythmy forms, considered within their original contexts from anthropological, musical, and eurythmy perspectives.<\/li>\n\n\n\n
  • Martina Maria Sam,\u00a0Eurythmie; Entstehungsgeschichte und Portr\u00e4ts ihrer Pioniere<\/em> <\/strong>[Eurythmy: A history of its origin and portraits of its pioneers] (Dornach 2014). The development of eurythmy up to 1925 and 90 biographical portraits of the first eurythmists.<\/li>\n\n\n\n
  • Stefan Hasler, Matthias Jeuken, eds.,\u00a0Eurythmie: Der Mensch in Bewegung <\/strong><\/em>[Eurythmy: The human being in movement] (Dornach 2021). Four contributions on eurythmy\u2014its history, its practice as a stage art, and its application in education, medicine, and social work.<\/li>\n<\/ul>\n\n\n\n

    Recent English Publications<\/h3>\n\n\n\n
      \n
    • Rudolf Steiner, Eurythmy as Visible Singing<\/strong><\/em>, CW 278 (Forest Row: Rudolf Steiner Press, 2019), based on the German 4th edn. (1984).<\/li>\n\n\n\n
    • Rudolf Steiner, Eurythmy as Speech Made Visible: Speech Eurythmy Course<\/strong><\/em>, CW 279 (Forest Row: Rudolf Steiner Press, 2024), based on the German 6th edn. (2019). This publication is the translation of our research work text.<\/li>\n\n\n\n
    • Rudolf Steiner, Eurythmy: Its Birth and Development<\/strong><\/em>, CW 277a (Forest Row: Rudolf Steiner Press, 2019), based on the German 2nd edn. (1982).<\/li>\n\n\n\n
    • Rudolf Steiner, The Early History of Eurythmy<\/strong><\/em>, CW 277c (Great Barrington, MA: SteinerBooks, 2015), based on the German 2nd edn. (1980).<\/li>\n\n\n\n
    • Rudolf Steiner, Eurythmy Forms for Tone Eurythmy<\/strong><\/em>, CW A 23\/9 (SteinerBooks, 2009).<\/li>\n\n\n\n
    • Rudolf Steiner, Eurythmy Forms for the Calendar of the Soul<\/strong><\/em>, CW A 23\/2 (Spencertown: SteinerBooks, 2025).<\/li>\n\n\n\n
    • Rudolf Steiner, The Inner Nature of Music and the Experience of Tone<\/strong><\/em>, CW 283 (Spencertown, NY: SteinerBooks, 2024).<\/li>\n\n\n\n
    • Tatiana Kisseleff, Eurythmy and Rudolf Steiner: Origins and Development 1912\u201339<\/em> <\/strong>(Floris Books, 2021).<\/li>\n<\/ul>\n\n\n\n
      \n\n\n\n

      The Forschungsstelle Eurythmie [Research Center for Eurythmy], which was founded by Stefan Hasler and Martina Maria Sam to publish these volumes, was funded by the Software AG Foundation.<\/p>\n\n\n\n

      Translation <\/strong>Joshua Kelberman
      Title image <\/strong>Poster by Henni Geck for the performance on September 30, 1922, in Dornach<\/p>\n","protected":false},"excerpt":{"rendered":"

      Martina Maria Sam and Stefan Hasler have re-edited and expanded all the volumes on eurythmy in the [German] Gesamtausgabe (GA) [Collected Works (CW)]. This work provides a breath of fresh air and a solid foundation for the second century of eurythmy. Here\u2019s a conversation with them and the eurythmist Ulrike Wendt with questions from Wolfgang Held. Wolfgang Held: All the eurythmy volumes have now been reissued with new commentary: is this the completion of a major project? Martina Maria Sam:\u00a0In […]<\/p>\n","protected":false},"author":9190,"featured_media":71767,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[8797,8836,8848],"tags":[11787,8798,11788],"class_list":["post-72043","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-conversation-en","category-eurythmy","category-literature","tag-ausgabe-16-2026-en","tag-deepening","tag-english-issue-18-2026"],"acf":[],"_links":{"self":[{"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/posts\/72043","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/users\/9190"}],"replies":[{"embeddable":true,"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/comments?post=72043"}],"version-history":[{"count":2,"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/posts\/72043\/revisions"}],"predecessor-version":[{"id":72148,"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/posts\/72043\/revisions\/72148"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/media\/71767"}],"wp:attachment":[{"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/media?parent=72043"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/categories?post=72043"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/tags?post=72043"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}