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• Title: Curative Eurythmy: Comments by the Editor of the Third German Edition
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  • the formative forces, and language.
  • performances, was given this name to distinguish it from artistic and
  • April 18, — were made available in manuscript form by Frau Marie
  • better form, movement exercises which would help the etheric formative
  • performed himself or asked Frau van Deventer-Wolfram and myself to perform
• Title: Curative Eurythmy: Concerning the Transcripts of the Lectures
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  • the formative forces, and language.
  • of all forms of cognition of this age. Therein also lies that which
• Title: Curative Eurythmy: References to the Fourth German Edition
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  • the formative forces, and language.
  • forms, good for children and young people from the age of three to eighty,
  • of these forms was the curve of Cassini, to the words “We will
  • we young people did not have the least idea why he gave this form as
  • of “recognizing” such an apparently insignificant form was
  • to sit together for hours discussing the problem “If this form
  • on the platform, and Frau Baumann and 1, sitting on two chairs in front
  • eurythmy, in theory and practice. You must he capable of performing
  • forms and postures you have learnt. Not until you have mastered all the
• Title: Curative Eurythmy: The Publication of Rudolf Steiners Lectures
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  • the formative forces, and language.
• Title: Curative Eurythmy: Contents
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  • the formative forces, and language.
• Title: Curative Eurythmy: Cover Sheet
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  • the formative forces, and language.
  • form or by any means without the prior permission of the copyright
• Title: Curative Eurythmy: Back Cover
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  • the formative forces, and language.
  • physiological selves and the formative forces in the world about us.
  • performer is able to reach directly into the formative and etheric
• Title: Curative Eurythmy: Foreword to the English Edition
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  • the formative forces, and language.
  • less clearly formulated than a written text. Furthermore, in this
  • course Steiner develops concepts which are being formulated for the
• Title: Curative Eurythmy: Synopsis of Lectures
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  • the formative forces, and language.
  • When the human being performs consonants in eurythmy he
  • outside world; when he performs vowels he goes into himself in an
  • connection between the formative tendencies in speaking and eurythmic
  • movement in the intellect. The losing of the formative quality of
  • Eurythmy brings the formative quality and the will element back into
  • performed in eurythmy first with the vowels and then with the
  • The upbuilding process is brought about by the formative
  • between the formative forces and the forces of consolidation. The
  • (formative forces — secretion — consolidation) and its
  • conscious experiencing of the formative process. The use of certain
• Title: Curative Eurythmy: Lecture 1
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  • the formative forces, and language.
  • we will develop into definite forms in the days following. First of
  • way drawn out of the formation of the healthy human being. We will see that
  • how certain artistic forms transform themselves in one direction or
  • is in essence the expression of that element inherent in the formation
  • — which will transform itself into a sort of feeling for the
  • processes forming the human organism — in order to apply the
  • how peculiarly the human larynx is formed.
  • of the windpipe, you will discover when you study its forms that it
  • think of this part somewhat transformed; imagine the diameter of the
  • the ribcage, here transformed into a pipe, the bony material being replaced
  • with a liquid solid mass replaced. When you imagine this transformation
  • transformed. It is actually so: the etheric formative forces of the
  • larynx bring about an inversion when we compare them with the formative
  • its former position so as to appear as the posterior head, then it would,
  • in accordance with the formative forces, of necessity add on those parts
  • thyroid which to a certain extent performs functions taken over from the
  • I have designated as etheric formative forces which are at work to bring
  • — these etheric formative forces are in fact very differentiated.
  • Thus our larynx performs backwards, in eurythmy, in the form of forces,
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• Title: Curative Eurythmy: Lecture 2
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  • the formative forces, and language.
  • movements which the tongue, the lips and the palate perform, the consonants
  • conform themselves more plastically to the outward forms of objects
  • of the outward form-nature of things. However, one can actually only
  • one then returns (to the rest position; the ed.) and performs the same
  • are performed, they are an expression for the human being as a person.
  • outside oneself — that which forms the opposite pole to those
  • you notice that certain children cannot manage to form certain consonants
  • forms of hygienic eurythmy it would be good to have the movements —
  • already said. In speech as well the consonant is so formed that a
  • reconstruction, an imitation of the outer form comes into being through
  • the formative
  • tomorrow, very special sorts of movements and it lies within these forms
  • giving it eurythmic form. It is internalized. That which it loses in
  • is contemplating them in eurythmy as art or performing them for personal
  • in the form that one carries out while making the consonants, as though
  • that he is carrying out and it must be performed in such a manner that
  • “M” that was just performed, you should have the feeling
  • — even when the organic form is carried out inwardly — that
  • one must immediately turn to the observation of the form as well. That
• Title: Curative Eurythmy: Lecture 3
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  • the formative forces, and language.
  • forms which consonants take in eurythmic movement. In what has been
  • developed as the form involved in consonantal movement consideration
  • introducing eurythmy performances,
  • in the form you have observed.
  • into consideration, one can carry on from here to form a mental picture
  • to one element which flowed into the formation of the consonants. If
  • we want to understand the formation of consonants in the field of eurythmy,
  • form an impression, I will ask you to compare once again. Here it is
  • important that one form a contemplative picture. Naturally, one cannot
  • in the pronunciation. We must polarize this by transforming it into
  • in the eurythmic movement. But you see that the form is determined by
  • in the tone in which it is spoken is the quietest, but which is transformed
  • in movement into its polar opposite when performed outwardly in eurythmy.
  • of the soft transformation in the movement, must be in a sense of an
  • in the forms given for eurythmy. It must be clear to you, of course,
  • but “el”; here we have the transition from older forms in
  • As you could see yesterday, the whole sound is actually formed accordingly.
  • it is formed in speech. The U is spoken with the mouth and the openings
  • an attempt to reduce the size. This is transformed into the polar opposite
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• Title: Curative Eurythmy: Lecture 4
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  • the formative forces, and language.
  • Thus while stepping forward you make the attempt to hop forwards and form
  • while forming knock-knees. It would be the same thing with the K sound
  • in the O-form, and to make the S-sound. Because one continually sets
  • regulates in particular the formation of gas in the intestine. When
  • psychic. One must try to perform the jump in the following manner: one
  • whatever reason — here is the movement to be performed.
  • intestine, it will be greatly to his advantage to perform this movement,
  • when the M is carried out in this form in movement it acts to regulate
  • people perform such movements in order to educate them to be corporally
  • performances and then saw eurythmy as well. Now I normally say that
  • see the consonants as they are performed eurythmically are connected
  • with the formation of man in a totally different manner from the eurythmic
• Title: Curative Eurythmy: Lecture 5
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  • the formative forces, and language.
  • materialism, since by means of it materialistic thought is transformed
  • is all entirely in accord with the image formed as the other polarity.
• Title: Curative Eurythmy: Lecture 6
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  • the formative forces, and language.
  • be encountered in an intensified form when one makes the transition
  • us can already be discovered purely artistically in a performance of
  • Mrs. Baumann will be so good and perform the poem “Über allen
  • which the human being carries out otherwise in a a weakened form in
  • sleep. Thus you can study in the listener, who promptly performs them
  • When artistic eurythmy is performed one should not think of it in the
  • form a mental picture of how this eurythmy affects the plastic qualities
  • differentiated movements have been performed all of which prove to be
  • case he would be listening to the movements which are the forms of
  • to living in the consonantal element. Dreams transformed into will play
  • dreams transformed into will from a physiological point of view? If
  • out in the intensified form, with the strengthened form of the consonants
  • people whose organs threaten to take on a proper wedge form. They want
• Title: Curative Eurythmy: Lecture 7
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  • the formative forces, and language.
  • active. Just consider what earth formation is, in reality: a formative
  • what lies without the planetary sphere a formative working into the
  • are not in essence formed out of some force or another within the Earth,
  • that work through the ether can be called formative forces, formative
  • take note of them in precisely this context: the formative forces. In
  • earth which take up those formative forces and make them fast, which
  • whereas the other forces, the formative forces, have more to do with
  • spherical forwards, from without inwards, some-thing is formed which
  • is opposed by a process of spherical formation from below upwards (red,
  • from the fore in the formation of carbon dioxide (white).
  • from within. The formation is internalized. That is the manner in which
  • process which leads to the formation of. the organs (please refer to
  • inspiration develops further in the direction of the formative forces,
  • Formative forces
  • existence, rising into this becoming in the opposite direction. Formation
  • in the creative powers which express themselves in the formative forces,
  • (“Agens”) who enters into our plastic forms from the world
  • hold of deficient formative powers, deficient plastic forces in the human
  • being and transforms them into something truly sculptural.
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• Title: Curative Eurythmy: Lecture 8
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  • the formative forces, and language.
  • transforming in a certain direction what takes place in the human organism
  • the formative apparatus — of which I may speak on the basis of
  • is transformed first into the circulatory processes; and that which
  • a section or stratum of the nerve-sensory system, conjoin to form what
  • whether they be vowels or consonants. Just as a certain formation and
  • visible form in movement correspond to an A or an L. Here we have a
  • this eurythmy. When artistic eurythmy is performed, the attention of
  • the corresponding sound, to the formation of the word or the artistic
  • formation of the sentence, to the metric form, the poetic form and so
  • the possibilities of artistic formation and portrayal of the elements
  • human functions, insofar as these functions form a totality in the
  • in the devotion to the sound-, word- and sentence-formation in artistic
  • and when the L-movement is associated with an A-form. Thus one can say:
  • instigation of the forms and movements necessary. When, for example,
  • In the case of the upper teeth, the plastic activity that forms them
  • is active from the front backwards. How will the lower teeth be formed?
  • expedites from there the formative forces, which one has in one's power
  • of what one has conducted to the formative centre with the movement
  • certain movements performed — S-movements, for example
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