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Query was: artistic

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• Title: Curative Eurythmy: Comments by the Editor of the Third German Edition
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  • performances, was given this name to distinguish it from artistic and
  • in the same way as, according to Rudolf Steiner, artistic eurythmy does
  • of speech and tone eurythmy, even if artistic perfection has not been
  • just the same as artistic eurythmy does. A living grasp of Man and the
  • times. Curative eurythmy also requires an extensive knowledge of artistic
  • it is essential to have an artistic understanding of the patient. All
  • or adult come to us out of artistic eurythmy. You will continually find
  • oneself wholly to the patient and carry him with artistic warmth of
• Title: Curative Eurythmy: References to the Fourth German Edition
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  • profession is that you first of all know the whole foundation of artistic
  • aspects of artistic eurythmy are you ready to change over to curative
  • of artistic eurythmy, be able to find them in the cosmos as the forces
  • already been actively engaged in artistic and pedagogical eurythmy for
• Title: Curative Eurythmy: Synopsis of Lectures
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  • eurythmy to the pedagogical and artistic element. Larynx and
  • artistic eurythmy. The difference between them. In the case of
  • centripetal dynamics. Sensitivity and an artistic disposition are
• Title: Curative Eurythmy: Lecture 1
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  • how certain artistic forms transform themselves in one direction or
  • course, be essential to emphasize that artistic eurythmy — which
  • for those who wish to practise artistic eurythmy, I want to specifically
  • what they have acquired in these hours when they do artistic eurythmy.
  • those goals which one pursues in hygiene and therapeutics and that artistic
  • persists in mixing the two will first of all ruin his artistic ability
  • and that through which one achieves what is essential in artistic eurythmy
  • children as a class. Artistic eurythmy and the eurythmy for pedagogic
• Title: Curative Eurythmy: Lecture 2
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  • of extending what comes to expression in artistic eurythmy in a certain
  • which are carried out with the arms only in artistic eurythmy —
  • can see most clearly that one must admonish the artistic eurythmists
  • not to mix the two things; the artistic eurythmists would not do well
• Title: Curative Eurythmy: Lecture 3
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  • hold one's stand is called forth. This is present in the U in artistic
• Title: Curative Eurythmy: Lecture 4
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  • in such a way that what we are developing as artistic eurythmy can unite
  • other thing I wish to say today is that I really do not want artistic
  • discipline. I beg the artistic eurythmists to forget these things
  • thoroughly when they practise artistic eurythmy so that they are not
  • in artistic eurythmy. That would be most troubling. One must nevertheless
• Title: Curative Eurythmy: Lecture 6
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  • that which can he observed in this connection in artistic eurythmy will
  • from artistic eurythmy to the fortified eurythmy we have become acquainted
  • us can already be discovered purely artistically in a performance of
  • When artistic eurythmy is performed one should not think of it in the
• Title: Curative Eurythmy: Lecture 8
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  • eurythmy took shape out of something purely artistic, out of what was
  • first developed as an artistic impulse; and in certain connections a
  • from artistic eurythmy. Now perhaps I will be most clearly understood
  • if at first I attempt to indicate the difference between artistic and
  • in speech. For this reason eurythmy is, artistically, really a sort
  • this eurythmy. When artistic eurythmy is performed, the attention of
  • the corresponding sound, to the formation of the word or the artistic
  • on. When active in artistic eurythmy, one is completely absorbed in
  • the possibilities of artistic formation and portrayal of the elements
  • artistically active in eurythmy, since in eurythmy one naturally follows
  • but carries on further, in artistic eurythmy we have to do with something
  • organism. Ordinary artistic eurythmy has no other physiological
  • consequences for the human organism other than that this artistic
  • in eurythmic artistic activity, it is conducive to health. But just
  • the artistic practice of eurythmy can be overdone. Professor Benedikt,
  • only be conducive to health; a certain artistic feeling of satisfaction
  • in the devotion to the sound-, word- and sentence-formation in artistic
  • from the sound A to an I or something else in an artistic presentation.
  • movements of artistic eurythmy are somewhat modified for curative eurythmy.
  • certain artistic grasp of the human organism how the upper teeth will
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