The Art of Eurythmy

As a movement art eurythmy brings the essence of music and language to visible manifestation. We not only hear the words and music but they become visible to our eyes. Through deliberate, sculpted gestures, sounds take physical form. Eurythmy is not interpretive of music and poetry. It is a true sounding or singing through the body as an instrument. Eurythmy, a relatively young art form, was developed a little over 80 years ago. Today, it is performed worldwide by professional eurythmists who have completed a five year program at one of over twenty schools. Eurythmy takes its start from the view that all art is the revelation of concealed laws of nature. The experience of the inmost soul is brought forth and unfolds before us in motion, gesture, color and space. He derived his epistemology from Johann Wolfgang Goethe's world view, where “Thinking… is no more and no less an organ of perception than the eye or ear. Just as the eye perceives colours and the ear sounds, so thinking perceives ideas.”[7] Life is movement, breath. It is never still, be it a quiet breeze or the rush of a wave. It is ever changing, weaving and pulsing through the world. Eurythmy is movement - Harmonious breathing living movement. "Eurythmy can be perceived as a moving sculpture. What is expressed when the human being is in movement is the human soul when it is stirred." - Rudolph Steiner

Ethnocenology

NEW MEANS AND THE TEACHING OF ARTS Introduction A society full of technologies, diverse technologies and digital technologies redimensions our being in the world and the different areas of knowledge: physics, chemistry, ..., but also sociology, anthropology, and arts. In this society full of technologies, an education centered in performativity, performativity in the sense given by Austin (performative enunciation), in the sense retaken by Jean-François Lyotard, French philosopher recently deceased, in his book La Condition Postmoderne (1), is no longer possible. The term performative in Austin (philosopher of language) and retaken by Lyotard refers to efficiency, the efficiency of an enunciation, term wrongly applied to the dynamics of societies in modern, positivist discourses that comprehended societies as machines. It was the idea we had in the modern era of the dynamics of societies, institutions, power, system, finally, of humanity: those would function as machines; that is, machines in which an 'input' would generate a predictable 'output'; if we reduced the 'input' and increased the 'output' of societies, we would increase their efficiency. Today we know that to understand society this way, it would have to be stable, and it is not. Society, as well as institutions, power, system (concepts that are effervescing nowadays: power, system), and finally, humanity are in continuous, unexpected and uninterrupted movement, so any prediction of an 'output' from an 'input' is impossible, for societies, institutions, and humanity do not function as machines but as active ecological systems in which a butterfly wing's movement can generate typhoons on the other side of the world. In the same way, a new image can cause a revolution. Nowadays we can observe the clear example of the stock markets. In the post-modern society, as Lyotard affirms, the generating processes (research) and the knowledge transmitting ones (teaching) happen through instabilities. Those instabilities are constelations in which there are some rules; however, ones in which the unexpected events are those that make possible from creativity to life on Earth. That is the conception of the Universe of Ilya Prigogine. I have gone from knowledge (generation and transmision) to the possibility of life on Earth and to the contemporary conception of the Universe for that, I have based myself in J-F Lyotard, but also in Christine Hardy from the Research Laboratory of the Psycho-physical Interactions, France, and in Ilya Prigogine – physicist, chemist, researcher, professor with diverse titles published. The new technologies do not let us predict, in this moment, how far they will go, which social segments will be redimensioned, and in which way that redimensioning will occur. All social segments will be redimensioned. Education towards creativity, education aiming at the different fields of knowledge is the most tuned for this historical moment. The reformulation proposed here certainly refers to the teaching of arts, but its paradoxal thinking itself claims a reformulation of the educational system as a whole.

A Arte da Transposicao do Performer e sua funcao Social – imaginacao e fluxo – corpo e pensamento simbolico A contribuicao de InterPlay ” A arte do ator e da transposicao. (...) Ele brinca com o vazio. Ele inicia a imagem;o espectador segue.(Ariane Mnouchkine-Collaborative Theatre.pg65) InterPlay e uma tecnica e filosofia que abrange uma comunidade internacional de performers nos 5 continentes. Teve origem nos anos 80 nos Estados Unidos em local de grande concentracao de tecnicas corporais perto de San Francisco. Para muitos InterPlay e uma pratica espiritual onde o ritual passa a ser a propria experiencia em grupo/comunidade. Wing it Sua forca esta na sensorialidade, ludicidade atraves da improvisacao,reflexao pos movimento e senso da integracao. Considerado um ato de celebracao, tem tido impacto principalmente no Ocidente onde a raiz ritualistica inerente ao ser humano foi amortecida e a dicotomia mente-corpo compartimentalizou o ser.

A percepcao sensorial como sendo a porta de entrada Philippe Caub`ere ator do Theatre Du Soliel desde 1972 durante ensaio do espetaculo L’Age d’Or percebeu que entre o ator e a mascara da commedia del arte algo acontece acessando a memoria do ator . Apos inumeras improvisacoes com Arlequin ele teve a necessidadae de colocar seu corpo em uma posicao de descanso e ao mesmo tempo manter um estado alerta de prontidao para iniciar . Havia percebido que nao estava dando o tempo para a plateia receber as imagens, compreende-las para entao rirem delas. (collaborative Theatre: The Theatre du Soleil Sourcebook. Compiled and Edited by David Williams, translations by Eric Prenowitz and David Williams. ). Sua percepcao sensorial conduziu-o ao desfecho, sua sabedoria corporal , sua audicao interior apontou a porta de entrada quando entao Arlequin pode encontrar espaco. A plateia reconheceu o personagem, Artistas na cena contemporanea buscam uma pratica hibrida, onde o artista se apropria cada vez mais do corpo buscando uma vivencia sensorial e intuitiva das informacoes que comporao o resultado. A vivencia poetica conjunta com o espectador e resultado da organicidade dada pelo artista, O ponto de vista norteador do performer impulsiona as acoes cenicas e estas embora de carater efemero oportunizam o espectador a encontrar um novo sentido que os torne “co-atuantes”, “vivenciadores”do ato artistico cenico.

Geertz, via o ato performatico com o poder de transformar o individuo e a sociedade. “ Momentos de performance sao momentos de ‘reflexividade”, uma condicao na qual o grupo reflete sobre ele mesmo. A performance abriga o ato reflexivo e a dimensao signica. “ O simbolo e a epifania de um misterio” ( Durand)