Foreword by Dorothea Mier
The study of music is
the study of the human being. The two are inseparable, and eurythmy
is the art which brings this most clearly to expression. In these lectures,
Rudolf Steiner guides us along a path toward an understanding of the
human form as music come to rest — the movements of eurythmy bringing
this music back to life.
I would like to express
my deepest gratitude to Alan Stott for the enormous undertaking of translating
these lectures. He has taken great care to keep as close as possible
to the original. I feel the effort made here in translating to be of
tremendous importance, because it is very difficult not to shift slightly,
or to make concrete formulations of that which holds a true mystery,
thus limiting the reader's access to the path of discovery inherent
in the original formulation. Steiner's characterizations are often challenging,
but spiritually vital. They are like gems that have a depth which is
unending.
The translator has achieved
a great deal, in my opinion, in keeping Rudolf Steiner's work intact
as far as possible. He has tried to accommodate, using copious notes,
the different terms used in the various cultures, and he gives many
references for further study. I appreciate his logic in translating
Ton-Eurythmie as ‘music eurythmy’, yet am deeply
grateful that he has accepted the term ‘tone eurythmy’ used
worldwide over the past decades.
It soon becomes apparent
when studying these lectures, that there are many enigmas, and many
baffling statements. As yet, there is much that is not completely understood,
but over the years people may come to a greater depth of understanding
that will unlock the secrets hidden within the various indications.
When reading these lectures, I think it is very important to remember
that they were lectures, spoken to an intimate group of invited eurythmists
and musicians — unrevised by the lecturer. Regarding the Lecturer's
Notes (which in themselves are so valuable), I feel we also need to
be very careful to remember their context. These Notes, included in
this edition, were Rudolf Steiner's personal notes in preparation for
the lectures. I am filled with questions, for instance, in connection
with Lecture 5, on Cadence. What prevented Steiner from bringing some
of the aspects of his notes into the lecture? As you read, you will
find your own questions which can stimulate lifelong research.
This is a real handbook
for active eurythmists and musicians, a text for advanced study. It
is not meant for the casual reader, because (as with any ‘time art’)
eurythmy cannot be self-taught. I can only encourage the reader to work
deeply into the questions that arise when living with these lectures,
because it is through delving into the mysteries contained here that
we will come further into the unfolding of tone eurythmy.
#160;
Spring Valley, Michaelmas 1994 |
Dorothea Mier |
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