Die Erde – The Earth

Das Forschungsinstitut für Bewegung

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Das Forschungsinstitut für Bewegung (Choreographisches Institut) und das internationale Theater sind 2 parallel Unternehmungen die sich gegenseitig unterstützen. Das Choreographische Institut hat zur Aufgabe die Eukinetik aller Rassen zu studieren und zu verschmelzen. Die neue Bewegungsschrift, deren Prinzipien in R.L.s Choreografie (Jena, Diederichs, 1926) niedergelegt sind, voll zu einem internationalen Verständigungsmittel über Eukinetik und ver-

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wandte Gebiete ausgebaut werden. Ausser den europäischen Formen des Tanzes und der Pantomime soll vorallem das chinesische und tibetanische Bewegungssystem in religiösen und gesellschaftlichen Riten und Ceremonien ferner das chinesische Theater studiert werden.

Rhythmische Elemente bieten die Trommelsprache der Neger und Indianen ferner die chinesische Musik. Die aus diesen Forschungen entstehende Bewegungssynthese kann und soll eine internationale

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Verständigungssprache durch die Geste begründen. Diese Sprache ist unbewusst vorhanden. Ein großer Teil der heutigen Körperkultur Bestrebungen ist auf die Gesetze dieser Sprache aufgebaut. Die bewusste Einführung dieses Systems in die Gymnastik wird diese durchgeistigten und ihr einen neuen Sinn geben, im Gegensatz zur bisher rein egozentrisch betriebenen Körperkultur.

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Das internationale Theater soll diese Ideen verbreiten helfen und gleichzeitig eine neue, unserer Zeit entsprechende Kunstform schaffen.

Historisch wertvoll sind Vorführungen von Tanzen und Pantomimen verschiedener Rassen, so auch des Tanzes und der Pantomime der weißen Rasse, inbegriffen den Film, die heute wieder einen großen Aufschwung erleben.

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Das Wesentliche ist aber das Schaffen neuer Kunstwerke die die internationale Bewegungssprache als Ausdrucksmittel benutzen.

Das choreografische Institut und das internationale Theater Bestehen seit mehreren Jahren in Deutschland unter der Leitung R.L.s. Letzthin wurde versucht diesen Veranstaltungen ein Heim in Würzburg zu schaffen, wo zu diesem Zwecke ein großer Freiluftpark und mehrere Säle zu Verfügung gestellt wurden. Die Gründungsversammlung in Rathaus zu Würzburg fand unter dem Vorsitz des Oberbürgermeisters Zöffler und unter Beteiligung der Behörden und der Universität Würzburg Anfang 1926 statt. Ungefähr 70 Schulen in Europa, verschiedene Kurse in anderen Weltteilen und mehrere Tanz-

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Bühnen sind der Zentralstelle dieser beiden Schwesterunternehmungen (choreografisches Institut und internationales Theater) angeschlossen.

Die Erde – The Earth

Dark shadows float above the earth

The earth cradles in its core the ringing crystal

The earth carries sprawling growths and the springing lust of the animal, the animal.

What will bring your blessing, blessing?

[Will it be your] yearning desire?

[Your] Growing softness?

[Your] Ringing clarity?

The Earth – Epic

Earth (the animal, the plant, the stone), different choirs. (Choir of the demon force, choir of colours, choir of forms, choirs of the earth, of the animals, the plants, the stones.)

The earth births (simultaneously but also one after the other) animal, plant, stone. In awful struggle the siblings destroy one another (plant love turns to hatred etc.) The earth grieves. The dream of harmonising [illegible]

The choir of the demon force proclaims the rebirth of the [three] brothers in one body, in the human being. Birth/Annihilation/Annunciation

Here I roar

The animal and with my wild will[ing] over plant and stone

And rule, fight, vanquish and rule

On earth.

And I claim

The cold and hard wisdom of the crystal

It lives on in my thinking

And I claim

The soft tentative sensing

Of the rampantly growing plant

It fulfils my feeling

And I claim

The wild desire of the animal

My hot will

and strong

Thou shalt not speak nor beget, stone, you shall lay still in your wise silence and live [according to] your own laws, gliding silently within that big power.

Your shimmering and whispering, your yearning and touching, silver plant, so beautiful, so cruel, and yet you do not fill me, dream on, dream on, of the teasing of the light and its many thousand games.

Life must have new tools! The old has become jagged, blunt and weak. It will not do, to pave the way for its witness/creator, and should the new not arise, then life itself will become old and die, [swallowed] by the gawping maw of laughing oblivion [literally: nothing].

The bursting life force of the young kills the old and pushes its force into the sphere of life. The mature [principle] blindly and lovingly calls forth the new which will destroy it [i.e., the old]. To beget is to invite one’s own hangman.

What follows is the dark time of hate. Satisfaction begets life, love, hatred and death. It behoves us to live and die in strength.

The Earth

Fire and cold created earth. They desired for their three sons, stone, plant and animal to rule over the earth. The first son to be sent to earth is crystal, the favourite son of cold. His minions are created: order, time, space and hardness, and they call forth reason to be their queen. They rule in symmetrical and lawfully evolving formations until they finally freeze completely. The second son, the plant, is sent [to rule the earth]. He brings forth softness, imagination and dreams, and elevates as queen the feeling mind. The colourful asymmetric form becomes softer and quieter until it dies in dreamy idleness. And finally with a roar, the animal, the favourite son of fire, rushes forth and with his minions – sensual love, action and movement – he brings forth the goddess of desire, who reawakens stone and plant.

And should the storm of desire become too strong, the queen of reason and the queen of feeling mind gather to work with the queen of desire, and to dance a rushing round of life. This dance binds them in unity into the symbol of earth’s soul, which aware of its three main qualities, amplifies in melodic rhythm the whole and through this rhythm all life is created.

[Handwritten notes in Box 1, Folder 1]

Es gibt nichts zu erlernen

Es gibt nichts zu erlernen. Wenn der ganze Mensch in seinen Fähigkeiten gut entwickelt ist so kann er alles machen. Es ist also nur eines zu erlernen, das ‘funktionieren’, ‘das leben” (das, was der gut entwickelte Mensch nicht ausführen kann, ist immer das Resultat einer übertriebenen Entwickelung, übertriebenem Trainings.)

Unsere Handlungen, Menschenhandlungen, sollen unseren Kräften, Menschenkräften angepasst sein. Diese Kräfte sind bei jedem verschieden, sie unterscheiden sich in ihrer Intensität. Der Training [sic] und die Kraft welche wir auf Spezialgebiete und ihre Überentwickelung verwendet haben, sollte der gesammten, einheitlichen Funktionskraft, zugeführt werden.

Dieses ist schwer möglich innerhalb der bestehenden Arbeits und Wirtschaftsformen der Menschheit. Das Individuum als Ganzes wird von Stärkeren, von der Gesamtheit unterdrückt, die einhheitliche Funktionskraft des ichs wird vernichtet, so sehr, dass wir den Blick für den Vollmenschen schon ganz verloren haben. Mit brutaler Kraft und sentimentalen Schlagworter,mit klügelnder Vernunft versucht Einer den anderen zu unterjochen, zu seinem Diener zu machen, statt diese Eigenschaften der tierischen Kraft, des Wollens, des Sentiments, des Empfindens und des klaren Denkens vereint in sich selbst und indessen auf eine Höhe zu steigern, auf welche das Zusammenleben mit anderen, das funktionieren des Einzelnen und der Gesammtheit zu einem harmonischen Ganzen, zu einem Kunstwerk wird.

Hier auf Monte Verità innerhalb der individualistischen Cooperative können wir den Versuch wagen Menschen zu ihrer Vollkraft, zum harmonischen Funktionieren zu führen.

Ich habe die Führung auf diesem Gebiete hier übernommen, da zur Zeit niemand anderer da ist, der sich dieser Aufgabe unterziehen kann und will. Denn es ist dringend notwendig, das seine neue Gemeinschaft, die von den Fehlern der bestehenden Wirtschaftssysteme loskommen will, das Übel an der Wurzel fasst und das Material der Gemeinschaft, das Individuum so intensive und so rasch als möglich von den Schlacken befreit, die ihm durch Gewöhnung anhaften. Es sind blos [sic] Schlacken, ihre Ursache ist Gewöhnung; denn dank der mächtigen Kraft die in der Natur herrscht, ist der Mensch doch kräftiger als all die widrigen Einflüsse die auf ihn seit Generationen einstürmen. Kaum hat der Intellekt das Mangelhafte erkannt, erscheint das Empfinden, die Phantasie und zeigt ihm den neuen Weg das neue Ziel. Die ständig strömende Kraft des Wollens führt dass Individuum auf dem als gut erkannten Weg, und bald steht dass Ich neu,gereinigt, gestärkt da. Jetzt kann dann das Wirken, das erfolgreiche Wirken in der Gemainschaft beginnen. Dementsprechend zielt meine Tätigkeit auf eine Probe unseres Können, ein Erkennen unserer Mängel, und ein Beheben der Mängel durch Übung, Training, Tat.

There is nothing to learn

There is nothing to learn. When the whole person is fully developed and to their full potential they can do anything. Therefore the only thing to learn is how to “function”, and how to live. (Whatever a well-developed person cannot accomplish is always the result of an exaggerated development, exaggerated training.)

Our doing, our human actions, should reflect our strengths, human strengths. These strengths are different for different people, they differ in their intensity. Training and force which we make use of in different specialities all serve the overall unified functional power.

This is difficult to achieve within the existing working and economic systems of humanity. The individual as a complete being is suppressed by other, stronger individuals as well as by the whole, the unified functional power of the I is destroyed, so much so that we have already completely lost sight of the complete human being. With brute force and sentimental slogans, with clever reasoning, one tries to subjugate the other, and turn them into serfs, instead of uniting the qualities of animal strength, will, sentiment, feeling and clear thinking within themselves and raising them to a level where living together as a community, the functioning of the individual and the whole, becomes a harmonious whole, a work of art.

Here at Monte Verità within the individualistic cooperative, we can dare to strive to lead people to their full potential and to their harmonious functioning.

I have taken over the leadership in this area because there is currently no one else who can or wants to take on this task. For it is urgently necessary that his new community, which wants to free itself from the errors of the existing economic systems, grasp the evil at its root and free the potential of the community, the individual, as intensively and as quickly as possible from the dross that clings to it through habit. They are merely dross, caused by habit; for thanks to the mighty force that reigns in nature, the human is stronger than all the adverse influences that have assaulted him for generations. As soon as the intellect recognises a deficiency, feeling and imagination appear and show the new path, the new goal.

The constantly flowing force of the will guides the individual on the path identified as the good path, and soon the I stands anew, purified, and strengthened. Now the work, the successful work in the community can begin. Accordingly, my work aims at examining our abilities, recognising our shortcomings, and correcting them through practice, training, and action.

Eine Wirkliche Qualitätsprüfung

Eine wirkliche Qualitätsprüfung

Eine wirkliche Qualitätsprüfung wird nicht nur die Form, das Material betrachten, sondern den Zweck, Ursprung und Idee des Gegenstandes, und wird denselben gar nicht schaffen, wenn er nicht dringend notwendig ist.

Der Mensch braucht seine Zeit und seine Kraft für ein gesundes, tüchtiges Leben, aus welchem geistige Werke spriessen sollen. Er darf nicht in endloser und begrifflich wahlloser Produktion sich ausgeben. Er gibt dadurch nichts dem Ganzen, dem Grossen, dem Leben. Er muss Zeit behalten für das geistige Schaffen, für die Entwickelung seines Wesens, seiner Genialität. Nur das Gleichgewicht auf diesen Gebieten, die eingefügte Ruhe, die Tat in Leben und Fest in Auswirkung und Andacht kann den Gehalt des Lebens bilden.

Das Recht des Menschen auf seine Genialität, seine Grösse, seine Ganzheit, sein Glück kann das einzige Ziel einer Organisation sein. Unterschiede wird es geben, wird es immer geben oder lange geben. Es wird Kranke und Gesunde, Starke und Schwache geben. Man wird die Schwachen und Kranken aber nicht verstossen und vernichten, sondern pflegen und regenerieren, mit der köstlichen Hilfe der Natur, um recht viele geniale Menschen am gemeinsamen Ziele, an der grossen Arbeit geistigigen Schaffens, geistiges Leben zu haben.

Der Mensch ist ein Symbol der Natur, in welchem sie ihre eigene Harmonisierung erlebt, in Welcher sie ein Ideal hinstellt - ein Ebenbild Gottes.

A true test of quality

An actual test of quality would examine not only the form and the material but also the object's purpose, origin, and idea, and would indeed only create the same if it is of absolute necessity.

People need their time and their strength to live healthy, productive lives, from which spiritual works naturally flow. They must not expend themselves in the pursuit of endless and meaningless production. In this way, they do not add anything of value to the whole, to greatness and to life. People must have the time for spiritual creation, for the development of their being and their genius. Only the balance of these elements, the inclusion of tranquillity, the effect and devotion of action in life and celebration should form the substance of a life.

The right of the human to their genius, their greatness, their wholeness, and their happiness should be the only goal of an organisation. There will be differences, they will always or for a long time persist. There will be sick and healthy, strong and weak ones. But one will not cast out or destroy the weak and the sick and instead will nurse and regenerate them with the delicious help of nature, to maximise the number of brilliant people working towards a common goal, the great work of spiritual creation and spiritual life.

The human is a symbol of nature, in which nature experiences its own harmonisation and through which nature posits an ideal - in the image of God.

Die Notwendigkeit der Herrenwirtschaft

Die Notwendigkeit der Herrenwirtschaft kommt daher, dass niemals Einer seinen guten Gedanken voll dem anderen übermitteln kann, so dass dieser andere die Idee ständig bei jeder Tat vor Augen hat. Es ist daher notwendig, dass der Eine seine Idee selbst durchführt, und insoferne er hierzu andere braucht, diesselben führt, leitet.

Die Vielfältigkeit der Tätigkeiten, und die Unübersehbarkeit der menschlichen Kultur bringt Beschränkungen der einzelnen Führer auf Teilgebiete mit sich. Diese Spezialisierung is kaum aufzuhhalten, sie hängt mit dem Wachstum der Kulturbedürfnisse und der Vorbildung der Menschen zusammen. Verwerflich ist nur eine Spezialisierung, die blosse Theorie ist. Auch die blosse Praxis wäre schlecht, doch existiert diesselbe beim Führenden niemals. Wünschenswert wäre, wenn jedes Organisationsglied die Einsicht theoretisch-praktischer Überblickes hätte. Insofern wäre ein Zusammenarbeiten individuell gebildeten Menschen von grossem Wert. Ein Führer bleibt aber nötig.

Tat

Sicher ist für uns, dass die Entwicklung nur aus der Tat, und nicht aus der Theorie erfolgen wird. Es handelt sich daher für un seine Menschengruppe zu bilden, die beabsichtigt die neuen Möglichkeiten in die Tat umzusetzen. Die Organisation dieser Gruppe wird unbedingt provisorisch, wandlungsfähig bleiben, ist aber in all ihrer Fehlerhaftigkeit notwendig. In tausend Dingen wird sie sich natürlich aus der jetzigen Kultur herausentwickeln und daher an diesselbe anlehnen. Die Form für den neuen Inhalt wird sich langsam selbst gestalten.

Notwendig ist für uns vor Allem eine systematische Schulung unserer Begriffswelt, nur zu jenem Grade der Verstandesbereitschaft zu gelangen welche die von uns als notwendig (illegible) empfundene Freiheit gestattet.

Es ist daher notwendig gemeinsame Übungen abzuhalten, die uns über die begriffsmässigen Zusammenhänge der Dinge aufklären, die uns ein scharfes klares Denken, ein typisches Erfassen der Dinge ermöglichen. Dabei sollen aber nicht die Millionen [?] einzelner Begriffe einzeln bewusst und erklärt werden, wie dies Aufgabe der pragmatischen Wissenschaft ist, sondern die Funktion des Denkens, mit ihern Gruppen und Regeln muss die Unterlage der Übungen bilden. Eine solche Ausb. Der menschl. Denkfähigkeit umfasst: Logik, Phantasie, Gedächtnis etc.

Neben dieser Begriffsbildung (Gehirn Begriffsidee) müssen als Teile derselben die Funktionen anderer Organe Muskeln (Begriffstat), Nerven (Begriffsempfindung) geübt werden, die Gesetze dieser Funktionen gefunden werden, und ihre Anwendung bis zum Leben, zum Kunstwerk gesteigert werden.

Die Steigerung der Begriffswelt zum Leben ist die Tat. Eine Ordnung, Organisation, Harmonisierung der Möglichkeiten. Je einfacher, je grosszügiger dieses Gesetz ist, umso mehr entspricht es uns. Wir haben keinen Sinn für buntgroteske Gesetze. Unser Werk soll gross, klar, einfach sein, wie unser Leben.

Wir müssen vor allem Leben, und dieses Leben soll unser Kunstwerk sein. Wir müssen uns schützen und nähren [?] , das sind unsere Formen, wie auch die Begriffe mit denen und zu welchen wir erzieher unserer Formen sind. Hier soll die Tatt einsetzen un ein harmonisch strebendes Gebilde ergeben, das selbst weiter wachsen kann, in Ruhe, Tat und Fest. Wir haben in unseren sozialen Einrichtungen Formen die wir gebrauchen können. Kein Umsturz soll dieselben umgestalten, sie sollen weiter wirken und sich entwickeln, jedoch energisch und sicher zum angestrebten Ziele einer

Einfachen und klaren Kultur. Die Administtration und Organisation muss in verstandessmässigster Weise praktisch und darum einfach sein, damit die Gemeinschaft dem Individuum möglichste Freiheit lassen kann.Administration is nicht Herr sondern Diener. Spezialisierungen in den Berufen werden notwendig sein, dürfen jedoch nicht dazu verwendet werden, die Berufe bis ins Endlose zu differenzieren, zu verfeinern. Jedenfalls darf die Verfeinerung nu rim Qualitätsssinne stattfinden. Der Reichtum ist Sache der Sensibilität, eine romatische Sehnsucht nach Nervenspeise. Wir müssen bewusst einfach sein wenn manche es auch arm nennen. Wir müssen arbeiten an unserem täglichen Bedarf arbeiten, müssen verstehen unsere Nahrungsmittel zu produzieren. Vieles der K ultureinrichtungen, das nur Reichtum, auf Macht gestellt war, muss weichen, wird von selbst in nichts zerfallen

Unser Wert wird nicht der Reichttumsglanz sein, sondern die Klarheit, nicht die Hast, sondern die Schnelligkeit.

Wir werden diejenige Menschengruppen, Menschenorganisation am Glücklickaten preisen, die am Freiesten lebt, geistige Güter ohne Schnörkel und Windungen produziert.

Eine Herrschaft der Geistigkeit am letzten Ende, derjenigen Geistigkeit, die eine Vereinigung, Harmonisierung der [illegible] Willens- Empfindungs- und Verstandesfunktion darstellt. Welche äussere Form dieser Zustand des Einzelmenschen und der Gesellschaft [illegible] erwerben wird, wissen wir nicht. Sicher ist nur, das es eine relative Gesetzlosigkeit mit der immer stärker werdender Einsicht Hand in Hand schreiben wird. Es werden statt Gesetzen Möglichkeitsskalen erkannt werden, und eine Selbstverantwortlichkeit jede Tat der Gesamtorganisation gegenüber

The Necessity of Hierarchy

The necessity of the master economy arises from the fact that no one can ever fully convey his good thoughts to another, in such a way that the other person constantly has the idea in mind in every action.

It is therefore necessary that one person carries out their idea themself and, insofar as they need others for this purpose, that they lead and guide others.

The diversity of activities and the overwhelming vastness of human culture entail tthat individual leaders are limited within their areas of specialisations. This specialisation is almost unavoidable; it is a consequence of the growth of the cultural needs and the advancement of human education.

This specialisation is only reprehensible when it is mere theory. Mere practice would also be bad, but such a specialisation never exists in leadership. It would be desirable if every member of the organization had the insight to gain a theoretical and practical overview. In this respect, cooperation between individually educated people would be of great value. However, the necessity for an overall leader remains.

Action

We are certain that evolution will only come from action, not theory. Therefore, the task before us is to form a group of people who intend to put these new possibilities into practice. The organisation of this group will definitely remain provisional and adaptable, but it is necessary in all its flawedness. In a thousand ways, it will naturally evolve out of the current culture and therefore lean on it. The form for the new content will slowly create itself.

What is necessary for us above all is the systematic training of our conceptual world, only to reach that degree of intellectual readiness which allows the freedom we perceive as necessary (illegible).

It is therefore necessary to conduct joint exercises that enlighten us about the conceptual connections between things, that enable us to think clearly and understand things in a characteristic way. However, this should not involve the conscious explaining of the millions of individual concepts individually, as is the task of pragmatic science; rather, the function of thinking, with its groupings and rules, must form the basis of the exercises.

Such education of the human capacity of thinking skills includes logic, imagination, memory, etc.

In addition to this concept formation (brain conceptual idea), the functions of other organs, muscles (conceptual act), and nerves (conceptual sensation), must be practiced as part of it, the laws of these functions must be discovered, and their application must be enhanced into life, to a work of art.

The elevation of the conceptual world into life is by means of the action. An order, an organisation, a harmonisation of possibilities. The simpler, the more generous this law is, the more it suits us. We have no taste for colourful, grotesque laws. Our work should be great, clear, and simple, like our lives.

Above all, we must live, and this life shall be our work of art. We must protect and nourish ourselves; these are our forms, as well as the concepts with which and to which we are educators of our forms.

This is where action should begin, resulting in a harmoniously striving structure that can continue to evolve, in peace, action, and celebration. We have forms in our social institutions that we can use. No revolution should transform them; they should continue to function and develop, but energetically and confidently toward the desired goal of a simple and clear culture. The administration and organisation must be practical and simple in the most rational way possible, so that the community can allow the individual the greatest possible freedom. Administration is not master but servant. Specialisations in professions will be necessary, but they must not be used to endlessly differentiate and refine professions.

In any case, refinement must only take place in the sense of quality. Wealth is a matter of sensitivity, a romantic longing for sensory nourishment. We must consciously be simple, even if some might call it poverty. We must work on our daily needs; we must understand how to produce our food. Many of the cultural institutions that were based only on wealth and power must give way; they are destined to collapse into nothing.

Our value will not be the splendour of wealth, but clarity, not haste, but speed. We will recognise as the happiest among us that group of people, that human organisation, which lives in freedom, producing spiritual goods without frills and twists.

In conclusion, a rule of spirituality is one in which spirituality represents a unification, a harmonisation of the [illegible] functions of will, sensation, and reason. What external form this [illegible] state of the individual and of society will acquire, we do not yet know. The only thing that is certain is that a relative lawlessness will go hand in hand with ever-increasing insight. Instead of laws, scales of possibility will be recognised, and individual responsibility for every action towards the entire organisation.

Laban Freiheit und Soziabilitätt Translation

Die Notwendigkeit der Herrenwirtschaft kommt daher, dass niemals Einer seinen guten Gedanken voll dem anderen übermitteln kann, so

Freedom (Freiheit)

[..] You are right, you […] share, those kept from life! Yours is the right like everyone else's, the right to freedom, to life, to see and enjoy beauty, to develop your souls, your being, but also to prosperity, to the health of your bodies, to the health of your children! But you must be human beings, become human beings, above all! No one can diminish this right. Let no one take away this wealth, this nobility so that you suppress the narrow, dull animal within you so that you awaken the [..?] human within you. Let it not be your own hardship that leads you to revolt against unworthy oppression, but compassion, the love for others who often suffer more than you do, the weak who cannot rise up, the sad who cannot even glimpse the coming light. Every animal fights when it is tortured, but only humans fight for one another, for an idea! The idea of the right to retain the time and strength to be human, to become human—that is your goal!

Study on sociability and sociality - Studie über Soziabilität und Sozialität

The individual's absorption into the social body. The individual's sacrifice. The right sacrifice is for the individual to assert themselves and express their individual experience, etc. The wrong sacrifice is to surrender their absorption to a greater soul (frog). The correct approach is to unite into a crystal, where each fragment remains individual. The incorrect approach is to combine into a counter-mixture (frog), where each fragment remains only a partial cell and dies alone.

The trained monkey has no inner connection to the cultural actions he performs. The apparent use of his chamber pot, his clothing, and his bed seem to him to be gross mischief, enforced by beatings or rewards. The same is true of a large percentage of citizens who use and support cultural institutions without any connection – like a monkey with a bedpan – with the trainer standing by and forcing these “necessities” upon them.

Of course, the reward is of a cleverly cheap, immaterial nature; while the monkey gets a sip of rum or sugar along with a beating, and the praise usually seems to him only a prelude to rum and sugar, the citizen is raised more unrealistically [?] than the monkey, and then, in addition to beatings, death sentences, rum, sugar, national festivals, brothels and marriage laws, the simple element of praise, the ethical awareness of having done something "right" as recognised by the masses or [...], also plays a major role. The question is whether the good chest inflated by these ethics is not also merely breathing towards, swelling of the breast towards a quite immodest quantity of rum and [??], of possession ‘enjoyment’?

Undoubtedly, subconscious anticipation of earthly goods is mixed with the ethical feeling of well-being until this feeling of well-being itself is elevated to a perverse pleasure and can be opposed as the superiority of one's own person to the envy of the inferior.

Cowardice and pettiness, greed and laziness united in states [?]. Is it any wonder if the offspring of these states feel the effect of horrific retribution in terrible terror and slavery, in misery and overexertion until they break down.

Musk ox! You'll only be led to your death when you've had your fill and enjoyed your sensual life. But to lead the other injured cripples, the blind, the insensitive, the miserable, to their death before they themselves have lived as long as the Musk ox—that is the most powerful, most admired device of human wisdom to date.

Neue Wege zur Bewegungsschönheit

Neue Wege zur Bewegungsschönheit.

Die sichtbare Sprache. Die sichtbare Musik.

Die grundlegenden Handlungen zur Beherrschung des Körpers sind folgende:

Übungen zur Regulierung der Atmung (Atem)
Kraftspannungen

Abspannung (relaxation)
Ausspannung (tension?)

Übung für die Geschmeidigkeit
Übungen für das Gleichgewicht
Übungen zur Orientierung im Raum (space)
Metrische, rhythmische und dynamische Übungen
Ausdruckübungen in Geste und Gebärde. Diese letzte Übungsserie führt zum Ausdruck hinüber.

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Es gibt eine sichtbare Sprache und eine sichtbare Musik. Man nennt diese Gebiete des menschlichen Ausdrucks Pantomime und Tanz. Man kennt aber die uralten Gesetze dieser Künste noch sehr wenig.

Die hauptsächlichsten Formen des körperlichen Ausdrucks sind:

Stage dancing
Social dancing
Physical culture and Kallisthenie

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Diese Abteilungen sind wieder reich gegliedert und gehen teilweise ineinander über. Z.B. der Bühnentanz wird dort wo er religiöse Schaustellung ist und teilweise den Zuschauer in die Handlung mit hineinzieht – etwa bei Sringprozessionen – zum Gesellschaftstanz. Ebenso hat der Gesellschaftstanz Abarten die auf die Bühne gehören. Gewisse Reigen der Physical Culture werden auf dem Podium gezeigt u.s.w.

Aber immer besteht der grundlegende Unterschied des Berufstänzers (Bühnentanz), des Tänzers zum eigenen Vergnügen (Gesellschaftstanz) und

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Des Tänzers der seine Muskulatur und und Bewegungsschönheit trainieren will.

Diese Teilung kann man in allen Zeiten aufzeigen. Freilich sticht in einzelnen Kulturperioden und auch bei verschiedenen Rassen und Völkern eine oder die andere Abart mehr hervor. So haben z. B. die orientalischen Völker einen stark religiös gefärbten Tanz. Sie verwenden den Tanz vornehmlich im Gottesdienst und in kirchlichen Spielen. Die Antike kannte z.B. keinen Geselschafstanz. Körperkultur und Sport waren aber sehr stark vertreten. Die Südseevölker kennen nur geselligen Tanz, wo alle mitmachen. In unserer Zeit bestehen diese drei Typen ziemlich scharf getrennt nebeneinander.

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Man wird also für die weitere Ausbildung drei Übungsarten unterscheiden müssen:

Technik des Berufstänzers
Technik und Tänze des Gesellschaftstänzers
Technik des kallisthenischen Ausdrucks

Es könnte scheinen dass der Sport in dieser Aufstellung fehlt. Aber der Sport hat den gleichen Zweck und verlangt eine ähnliche Vorbereitung wie die Kallisthenie.

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Der Unterschied besteht nur darin, dass der Sport vorwiegend von Männern und die Kallisthenie vorwiegend von Frauen ausgeübt wird.

Sobald aber im Sport nichtsosehr der record, sondern der Ausdruck, die Körperschönheit und Geschmeidigkeit erstrebt wird, kommen sich die beiden Gebiete sehr nahe und können von beiden Geschlechtern in Gleicher Weise ausgeübt werden.

Es ist dies der neueste Weg zur Bewegungsschulung. Diese baut sich auf den uralten Gesetzen der sichtbaren Sprache und der sichtbaren Musik auf.

Rutholph Laban

Neue Wege zur Bewegungsschönheit.

Die sichtbare Sprache. Die sichtbare Musik.

Die grundlegenden Handlungen zur Beherrschung des Körpers sind folgende:

Übungen zur Regulierung der Atmung (Atem)
Kraftspannungen

Abspannung (relaxation)
Ausspannung (tension?)

Übung für die Geschmeidigkeit
Übungen für das Gleichgewicht
Übungen zur Orientierung im Raum (space)
Metrische, rhythmische und dynamische Übungen
Ausdruckübungen in Geste und Gebärde. Diese letzte Übungsserie führt zum Ausdruck hinüber.

New Paths to the Beauty of Movement.

Visible speech. Visible music.

The fundamental actions for mastering the body are as follows:

Exercises to regulate breathing (the breath)
Tensions of force

Relaxation
Tension

Exercises for flexibility
Exercises for balance
Exercises for spatial orientation (space)
Metric, rhythmic and dynamic exercises
Expression exercises in gesture and sign. This final series of exercises leads to expression

There is a visible language and a visible music. These areas of human expression are called mime and dance. However, there is still very little known about the ancient laws of these arts.

The main forms of physical expression are:

Stage dancing
Social dancing
Physical culture and callisthenics

These sections are again richly structured and sometimes overlap. For example, stage dance becomes social dance where it is part of a religious ceremonial performance and sometimes draws the audience into the action, as in singing processions.

Likewise, social dance includes variations that belong on stage. Certain physical culture dances are performed on the podium, etc.

But there is always the fundamental difference between the professional dancer (stage dance), the dancer for their own pleasure (social dance) and the dancer who wants to train train muscles and perfect their beauty of movement.

This division can be demonstrated at all times. Of course, in individual cultural periods and among different races and peoples, one or another variety stands out more. For example, oriental peoples have a dance of a strongly religious nature, where dance is used primarily in church services and religious plays.

For example, the ancient world didn't have social dancing. Physical culture and sports, however, were very much present. The Polynesian peoples only know social dancing, where everyone participates. In our time, these three types exist quite distinctly side by side.

For further training, one will therefore have to distinguish between three types of exercises:

Technique of the professional dancer
Technique and dance of the social dancer
Technique of callisthenic expression

It might seem that sport is missing from this list. But sport serves the same purpose and require similar preparation as callisthenics.

The only difference is that sport is mainly practised by men and callisthenics is mainly practised by women.

However, as soon as the main focus in sport is not so much the record, but rather expression, physical beauty and suppleness, the two areas become very similar and can be practised by both sexes in the same way.

Es ist dies der neueste Weg zur Bewegungsschulung. Diese baut sich auf den uralten Gesetzen der sichtbaren Sprache und der sichtbaren Musik auf.

This is the newest approach to movement training, based on the ancient laws of visible speech and visible music.

Rutholph Laban

Hordes of Production and Hordes of Destruction

Produktionshorden und Zerstörungshorden

Wort ist Klangbild des Form Begriffes

Hordes of Production and Hordes of Destruction

Become necessary when either production or destruction takes over, and the other pole must step in to balance things out. Overproduction, over-possession, and arrogance generate the destructive rage of envy, which is a cause of war, or arrogance itself initiates the conflict out of greed, or a desire for expansion, or fear for possessions.

As soon as the individual owns things, or seems to need things that he cannot produce himself, the necessity of the production horde arises, which then, just like the individual, creates and protects for itself the necessities of life. In the same way, the production of citizens is also regulated, and goods, property, and citizens are protected, created, taken, and destroyed, like other objects. It is this absorption into the horde of production, which turns people into citizens, which does serious damage to the idea of humanity we can form of humanity. He becomes a citizen because he has become a slave to his self-created needs, by creating the horde of production, the greater thing in which he must necessarily perish, for the sake of his needs.

A further consequence is the emergence of a physical power group, the horde of destruction and conquest, which, with very few individual needs, would not need to undergo independent training, even if unity of production existed. The neighbour who steals and is helped by his friends is also made harmless with the help of his friends - this is now done by courts that find the wisdom of their judgment in precisely regulated laws.

Larger groups are already attempting to submit themselves to such legal rulings, and an immense number of laws emerge, private rights, criminal laws, and international laws. The only means to prevent the horde from triumphing over humanity consists in the achievement of a greater lack of material needs, even if the achievement of an absolute lack of needs is unattainable, and for the people to not squander their inner possession of themselves, the strength of their personality and their joy of life simply to acquire material sham goods.

The deprivation of personal freedom would then be the only true crime, while the desire for power and the joy of possession would be the greatest guilt. During the temporary, purely voluntary association of members with groups of friends or individuals, the joint creation of ownerless cultural works would be possible.

Cultural works should be chosen in such a way that desires for ownership are unlikely to arise, and that parting from the group is not made more difficult by material habits. Iron self-discipline, elevation of the soul to higher values, ruthless exclusion of those who are domineering or possessive would produce experiences of how the loosest possible bonds could ever more strongly support the one strong bond of personal love and one's own joy in life.

The law of humanity is to strive for this state. How to prepare for this state is through enlightenment through an education towards an uplifting. Subsequently, experimental stations could be established in which individuals already fully acquainted with these goals could experiment with the forms of such communities.

The most important task is the education of a spiritual personality. From these personalities, the will to be free from material needs must emerge willingly, as a matter of course; everything else is mere training and external form, which mechanically directs without control, strives for diversity, and allows for no unity.

Only in unity can unity emerge. (Women with children, like men, temporarily and voluntarily join each other and groups.)

The Word is a Sound Image

Wort ist Klangbild Des Form Begriffes

Wort ist Klangbild des Form Begriffes

Der einzelne Klang
Das Wort als zusammengesetzter Klang
Der Satz als Klangbildgruppe

(Rhytmik u. Melodik)

Formbegriffe oder Dinge sind Spannungserscheinungen die wir empfinden, wahrnehmen, erfahren

Missing Page 2

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Die Bewegung ist der Akt die Form zu bilden, das Wollen, die Gewalt.

Der Wortklang ist der Ausdruck unserer Wahrnehmung, des Fühlens, Gefühlen.

Die Formbilder, Begriffe sind unsere unterschiedlichen Wahrnehmungen.

Wahrnehmung der Gegenwart, Ahnung der Zukunft, Erinnerung der Vergangenheit ist der Gedanke des wahren Gewissens.

Die musikalischen Klänge sind die bisher noch ungesagte Worte, Gefühle.

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Worte sind Abbilder der Gefühle die mit Unterschiedlichkeiten scheinen.

Der begriffliche Inhalt der verschiedenen Worte ordnet sich nach derunterschiedlichen Spannung in welcher sich die Dinge und Ideen zu befinden scheinen. Ebenso, wie sich die Bewegung nach Spannung und Spannungsunterteilungsmischung in Raum, Zeit und Kraft ordnet, und auch der Klang, dessen Wesen Empfindung ist, wie der Bewegung Wesen Gewalt, und der Begriffe Wesen (geordnete Gewalt?) Gewissen?

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Wort ist Name eines Gefühles. Bewegung ist Ursache der Tat. Gefühl ist Wirkung der Tat. Wort ist Name eines Gefühles verursacht durch die Tatform welche durch die Tat der Bewegung entstand.

Beweggung formt Tat, Form Das Gefühl empfindet diese Tatform und nennt sie im Klang. Der Klang weckt wieder Bewegung. Und Gewalt weckt auch Bewegung.

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Gewissen weckt Bewegung, Gefühl weckt Bewegung.

Gewalt, Gefühl, Gewissen ist eines

Kraft die weckt / Bewegung

Den. Ausdruck von Gewalt, Gefühl und Gewissen.

Vereint / den Ausdruck von Kraft/ und von ihren einzelnen und gemischten Teilen.

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Nur sie weckt die Tatform, die Kraft, - Sie weckt auch den Namen Der gefühlten Tatform, das Wort. Und das Gfühl selbst, das Namenlose

Und das Wollen selbst, das Tatenlose

Und das Gewissen, Ohne Wissen.

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Wort ist der Klang/nahme der Empfindung welche die Dinge und Ideen in uns wecken. Schrift ist bei uns Klangschrift, bei anderen Begriffsschrift, Bild des Dinges selbst, oder seiner Spannung.

Der Klang im Buchstaben ist eine Form die den ursprünglichen Sinn des Klanges mehr oder weniger enthält. Die Lautschrift hat Bilder, Bewegungszeichen für jeden Laut, der jedesmal ein Fühlen ausdrückt.

Jeder Laut ist im Grunde durch eine Bewegung darstellbar, und jede Bewegung

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Durch einen Laut, da beide Gefühlszusammenhänge haben. Die Bewegung war der Anstoss zur Tatform aus welcher das Gefühl entsprang. Und ungeformte Gewaltimpulse (Kunstbewegung) und unsagbahre Gefühlswellen (Kunsttöne) haben zwischen sich ungetane Tatformen, oder für den Menschen momentan unbewerkstellbare Tatformen.

Der Mensch denkt nicht gern nach. Er nimmt das Bild als bahre Mûnze. Das wie Papiergeld oft im Kurse schwankt

Und doch als praktisches Verständigungsmittel

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Dem Guten wie dem Bösen dient. Nur seine Taten mit zu fördern.

Wer Fühlen giebt will Taten fördern, wer Wollen giebt, erst recht!

Drum ist das Wort ein gutes Werkzeug.

Gefügig, billig zu verdrehen

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Zu neuem Ziel, zu andrem Zweck, als wie es gestern ward verwendet

Und innen nur der gute Mut, der klare Will, das tapfre Herz

Das sind die Treugefährten die dir niemals zum Schabernack gedeihn, noch deinen Freunden Possen spielen!

The Word is a Sound Image

The word is a sound image of the form concept

The individual sound
The word as composite sounds
The sentence as a group of sound images (rhythm and melody)

Form concepts or objects are phenomena of tension which we feel, perceive, experience

Page 2 missing

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Movement is the act of producing the form, the will, the force.

The sound of the word is the expression of our perception, of our feeling and emotions. The forms and concepts are our different perceptions. The perception of the present, intuition of the past and memory of the past is the thought of true conscience.

The musical sounds are the words and feelings that have not yet been spoken.

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Words are images of feelings that shine with differences.

The conceptual content of the various words is arranged according to the different tension in which the objects and ideas seem to be. Just as movement is arranged according to tension and a tension-composite subdivision in space, time and force, and also the sound, whose essence is sensation, as the essence of movement is force, and the essence of concepts is conscience? (subdivided force?)

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A word is the name of a feeling. Movement is the cause of the action. Feeling is the effect of the action. A word is the name of a feeling caused by the form of the action, which arose from the action of movement.

Movement shapes action, form. The feeling perceives this form of action and names it in sound. The sound awakens movement again. And force also awakens movement.

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Conscience awakens movement, feeling awakens movement. Force, feeling, conscience are one.

Power awakens / movement

The expression of force, feeling and conscience. Unified/ the expression of strength/ and of its individual and mixed parts.

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Only it awakens the action, the strength – it also awakens the name, the felt form of action, the word, And feeling itself, the nameless. And conscience, unknowing.

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Word is the sound/perception of the sensation that objects and ideas evoke in us. Writing, for us, is sound notation, for others, it is conceptual writing, an image of the object itself or its tension.

The sound of the letter is a form which more or less reflects the original meaning of the sound.The phonetic transcription contains images, movement signs for each sound, which expresses a feeling each time.

Fundamentally, every sound can be represented by movement, and every movement

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(con.) by a. sound, as both are related to the feeling. The movement gave the impetus for the action form, from which the feeling arose. And unformed impulses of force (art movement) and unspeakable waves of feeling (art sounds) have between them unrealised forms of action, or forms of action that are currently unachievable for humans.

People don’t like to think. They accept the image as a ready coin. Like paper money, its value often fluctuates.

And yet, as a practical means of communication,

Page 10

(con.) it serves both good and evil. Only to bring about one’s actions.

Those who offer feeling will bring about actions,and those who offer their will, even more so!

That's why words are a good tool.

Malleable, easily twisted,

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(con.) to a new goal, to a different purpose than how it was used yesterday.

And innermost only good courage, a clear will, a brave heart

And inside only good courage, a clear will, a brave heart

These are the loyal companions who will never play tricks on you and on your friends!

8 Sets of Notes on Rhythm

Wort ist Klangbild Des Form Begriffes

Wort ist Klangbild des Form Begriffes

Der einzelne Klang
Das Wort als zusammengesetzter Klang
Der Satz als Klangbildgruppe

(Rhytmik u. Melodik)

Formbegriffe oder Dinge sind Spannungserscheinungen die wir empfinden, wahrnehmen, erfahren

Missing Page 2

Page 3

Die Bewegung ist der Akt die Form zu bilden, das Wollen, die Gewalt.

Der Wortklang ist der Ausdruck unserer Wahrnehmung, des Fühlens, Gefühlen.

Die Formbilder, Begriffe sind unsere unterschiedlichen Wahrnehmungen.

Wahrnehmung der Gegenwart, Ahnung der Zukunft, Erinnerung der Vergangenheit ist der Gedanke des wahren Gewissens.

Die musikalischen Klänge sind die bisher noch ungesagte Worte, Gefühle.

Page 4

Worte sind Abbilder der Gefühle die mit Unterschiedlichkeiten scheinen.

Page 5

Wort ist Name eines Gefühles. Bewegung ist Ursache der Tat. Gefühl ist Wirkung der Tat. Wort ist Name eines Gefühles verursacht durch die Tatform welche durch die Tat der Bewegung entstand.

Beweggung formt Tat, Form Das Gefühl empfindet diese Tatform und nennt sie im Klang. Der Klang weckt wieder Bewegung. Und Gewalt weckt auch Bewegung.

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Gewissen weckt Bewegung, Gefühl weckt Bewegung.

Gewalt, Gefühl, Gewissen ist eines

Kraft die weckt / Bewegung

Den. Ausdruck von Gewalt, Gefühl und Gewissen.

Vereint / den Ausdruck von Kraft/ und von ihren einzelnen und gemischten Teilen.

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Nur sie weckt die Tatform, die Kraft, - Sie weckt auch den Namen Der gefühlten Tatform, das Wort. Und das Gfühl selbst, das Namenlose

Und das Wollen selbst, das Tatenlose

Und das Gewissen, Ohne Wissen.

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Wort ist der Klang/nahme der Empfindung welche die Dinge und Ideen in uns wecken. Schrift ist bei uns Klangschrift, bei anderen Begriffsschrift, Bild des Dinges selbst, oder seiner Spannung.

Jeder Laut ist im Grunde durch eine Bewegung darstellbar, und jede Bewegung

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Der Mensch denkt nicht gern nach. Er nimmt das Bild als bahre Mûnze. Das wie Papiergeld oft im Kurse schwankt

Und doch als praktisches Verständigungsmittel

Page 10

Dem Guten wie dem Bösen dient. Nur seine Taten mit zu fördern.

Wer Fühlen giebt will Taten fördern, wer Wollen giebt, erst recht!

Drum ist das Wort ein gutes Werkzeug.

Gefügig, billig zu verdrehen

Page 11

Zu neuem Ziel, zu andrem Zweck, als wie es gestern ward verwendet

Und innen nur der gute Mut, der klare Will, das tapfre Herz

Das sind die Treugefährten die dir niemals zum Schabernack gedeihn, noch deinen Freunden Possen spielen!

8 Sets of Notes on Rhythm

From Text 1

On the comprehensibility of rhythm

First of all we have to realise that rhythms have expressive qualities. The sentiments expressed, graceful or sad, can be clearly distinguished. The will, either quiet or menacingly, also shows itself fairly easily. There are also the rhythms of mentality, characterised just like the rhythms of sensations. These are not vague analogies; the essence of rhythm being the living or vital will which carries within these combinations of logic the endless variations of the force that engendered it. Ideas also fall under a rhythmic order but they tend to be more harmonic and melodic.

The rhythm coheres with space, form, direction, pitch etc. Above all, it contains the harmonic system, and the spatial differences are of a rhythmic order, but of a squared, cuboid or spherical rhythm; the life force reveals itself in a simply linear rhythm, in a series of explosions, but these explosions are made up of directions, paths, returns, contrasts, collisions, tensions and forms. All existent forms are products of rhythm. The forms of our intelligence as well as our sensory mechanisms.

The rules of functioning are not as easy to grasp as the number play of mathematics. Mathematics and geometry are a small part of rhythm. The most complete language of the life of the will is dance, which can communicate the word as well as the arts or science. It is more primitive than the word, which is made up of resonating rhythm of space, spatial rhythm, and the rhythm of intelligible ideas and sensory objects and mechanisms. Dance speaks all the ideas that are not yet objects, that are names of objects, and it is this immaterial purity that emanates from its manifestations. Dance is the language which is predestined for philosophy.

The different rhythms or rhythms of the will

The simple explosion

The series of rhythmic explosions

The counterpoint or polarisation of explosions

Metric, planimetric, squared, cuboid, spherical and formal.

A combination of implosion and explosion: rhythms acting on rhythmic forms

The implosion, sensation, intelligence, ideas, complicated order of wills, organic will, logical will, free will.

[Text No. 2]

We could say: Rhythmic events seek to document or [illegible] the victory of strength over weakness (crescendo) or vice versa (decrescendo), where we define strength as a dance-like, life-affirming, plastic element as opposed to a negative, doubtful element. In terms of the expression of force it is fundamentally of no importance which temporal relations are used. The temporal difference only needs to occur in a general differentiation between quick or short and slow or long in order to be [illegible] in a rhythm. […] Another important Temporal [illegible] of the step exercises for rhythm, is whether the short measures to the long measures occur in a ratio that is paired or unpaired, i.e. 3:4 or 2:4. It is also not unimportant.

In this sense we must see temporal relationships as nuances of force; they exist in the service of the expression of force, of the dynamic expression, and of the will. It should be noted here that simple harmonic sound relationships, which in both in terms of spatial and temporal relationships are derived by the ratio of the resonance factors [Schwingungszahlen n.b. the ‘swing’ element] of 1:2 : 3:4, are fundamentally purely dynamic and carry no further emotionally relevant musical meaning. Harmonic or chordal music is music of the mind [Verstandesmusik], music of logic. Only the melodic element is feeling expression, music of movement, and in so far purely musical. Dissonant sound music with its disregard for pitch and its strong emphasis on rousing, rhythmic elements is an expression of the will (roaring music) [rauschende musik]. Counterpoint is building, structuring in the form of dance, an expression of force but through dance; however, this independent art form is as ill-suited to be used as dance accompaniment as structural dance would be to rhetorical pathos.

A rhythmic example such as [notation] in its pure temporal and spatial relationship can tell us more about rhythm than any piece of theory. Rhythm is the basis of force [Gewalt]. In music, rhythm is only a subordinate occurrence. Music which emphasises rhythm, body beating, is deviating from its original purpose, mind? [Gemuetschaft?] Rhythm that is inherent in music has come about through the laws of movement.

[Text No. 3]

Music for dance is sounding rhythm, in the same way that dance is swinging rhythm. Each sound has its own force, spatial dimension, its own temporal span and its intrinsic power. Small tones, high-ringing, have short duration and little power, while low tones have long duration and strong power. The high-pitched tone carries an intrinsic tension, a kind of spasm, while the low-pitched tone carries a strong impulse and a relaxing and a ringing, fading out (in the case of percussion, silence instead of fading out).

The harmonic and melodic refinement is a diversion in music because it moves in spatial directions rather than spatial [word illegible]. Individual sounds, which are the target points, relate to us through different spatial relationships, which are not as easily definable as these target points of the movement. Sound affects us by 3 means: the duration, the power and the relationship of pitch (consonance), relative and absolute pitch.

When more dissonant sounds are produced we move towards expansion, because the spatial, temporal and power distance of the dissonant note to the root note is bigger. Fading out usually describes a downward motion, ringing describes an upward motion. Small notes (higher [pitch]) vibrate with higher intensity and more ringing than lower tones. Absolute vibrational resonance and vibrational resonance in relation to the previous note.

In a sense, harmony can be seen as a product of force and rhythm.

The rhythmic element of force (while striving for spatial, temporal and energetic expansion) materialises in different [lines of] directions that are governed by laws of geometry, and creates movement which can either be swinging [vibrating], resonating, or form creating. The finiteness of the manifestation defines the volume and limits of its force, as well as the series and the relationship of the newly occurring force element to the one preceding it and the one following it etc. This relationship, this ratio, we encounter as rhythm.

Things that do not show any change in direction, where there is, in a sense, a single-directionalism, are purely rhythmical things, things of force. Examples for this are rhythmic or violent music, noise, violent dance, step dance, mathematical thinking, the violent word.

[Text No. 4]

Rhythm is an expression of force [violence!], measurable in the distance covered, as soon as it flows freely from the centre. Its impact will take up more or less time, which within a sequence of movement stands in natural and direct relation of size to the space and force. A delay in the natural duration of a force/space range always relates to a holding back of power/strength [Kraft], while an acceleration of the natural force/space range necessitates a sudden [illegible] and an augmentation, an over-increase of power/strength. The purpose of the strength/power exertion is in the spatial pathway, particularly when we focus on the visible form of movement rhythm. (In the case of percussion rhythm, tone, the main purpose is in the temporal difference, in the case of concept rhythm it is the difference in power/energy, where the stress falls, the [illegible] of one word.) The spatial rhythm is influenced by the natural expanse of the directions. […]

The harmonic body will always keep to these natural measures, they feel self-evident. Because of the directional qualities of spatial dimensions, physical effort and time remain the same, which led to the establishment of time rhythm as the basis for the art of movement in dance. There would be nothing wrong with this, if it didn’t mean that the actual movement, spatial rhythm and spatial harmony, didn’t lose out or was ignored altogether, as is the case in many music classes. At least in this case there is no sign of [or never] coherent, independent structure to the spatial movement, and it creates an [added] spatially multidisciplinary, chaotic, automatic, and movement technologically imperfect image, which we are often offered by today’s [illegible] dancers. [Classical] Ballet disappeared in the one-sided emphasis on time, despite the attempt to limit spatial movement through the establishment of laws which govern the movement of the step. Movement in which time, space and force do not come together in a natural order, or in which the naturally occurring force structure is being subverted through the manipulation of time, space and power, seems deformed and grotesque, just as is the case in movement which employs a disregard for the natural striving towards a harmony of movement and the link to directionality (swing). The inner link between the inherent conformity of force and the directional harmony is so strong, that forces which are distorting will produce directions that are disharmonious (distorting) themselves, and vice versa, so that we can speak of conforming movement in which forces and directions follow coherent laws, just as distorting movement in terms of forces and direction will always produce distorting results. This disharmony can be notated by the use of additional characters which change conforming [coherent] movement into distorting movement. Here, too, the limits and admissibility of the grotesque are governed by the laws of expression. We shall investigate these laws later.

[…]

When melodic-rhythmical movement can be subdivided into parts of equal measure, which always start with a stress on force (time, power, space) it can be said to be metric.

The dancer will often only dance the stressed parts, the additional parts consist more of a ringing, resonating continuing movement, which is often accompanied by footsteps in order to complete the previous swinging momentum and prepare the next. The metric can contain a multitude: 1,2,3,4,5, up to infinite divided bars. Most commonly used are 2 and 3 measures (4, 6, 8 are all built on these), in which only the first force of the first part is stressed. In the paired bars of 2 and 4 the second beat is also lightly stressed. A beat bar with stresses in both parts is called a 6/8 measure.

Through sound rhythm can be made audible, and by measuring or counting it can be intellectually tangible, conceivable.

The pairing or unpairing has different methods of expression.

Pairing will evoke notions of light, brightness; while unpairing evokes notions of darkness, sombreness. The character of pairing is upward-flowing, radiating lightness, the character of unpairing is inward-flowing depth. These rhythm patterns form nuances that are formed from these elements. Rhythm in itself has its own inner workings, in every bar, through every power ratio [force relationship]. Within the composition of movement these inner workings are subordinate to the overall creative work [Gesamtwerk]. Rhythm by itself, just like harmony in itself, does not automatically constitute art. A rhythmic sequence without harmony, just like a harmonic sequence without rhythm is unthinkable. In the seemingly pure rhythmic sequence the role of harmony or melody is being filled by where the stress falls. In the seemingly purely melodic or harmonic sequence the element of rhythm is metric. In 1/1 time signature we see the purest expression of harmony.

Practice sequence

Metric exercises (in 3 different time signatures) (running, walking, striding)

Exercise 1: Running and clapping in 3 and 4 time:

Hands and feet same

Hands and feet different

Rhythm with feet, hands metric and opposite

Writing rhythms

Exercise 2: Swinging rhythm and metric

In one direction a.) metric, b.) rhythmic

In different directions, a.) metric, b.) rhythmic

And 2 writing rhythm with direction

Rhythm Teaching

Pure metric rhythm

1 – 2 – 3 – 4 – etc.

Mixed metric rhythm

6/8, 9/8, 12/8 [notation]

[…]

The aspiration/striving [movement] towards the light, upwards, ahead, is the most conforming [well-formed] most harmonious movement, at least in asymmetrical movement. The distorting movement towards darkness, downwards, backwards; this movement really fills the role of assisting or down swing direction, subservient to the upswing. The counter movement, leaning/tending towards darkness, is ruled by [the elements of] distortion/dissolution. The characteristics of these are concentration, the conservation of power. Regarding the [word missing] of the movement, appears as a minor key, an inhibited movement. The forward momentum is shorter, blocked. One covers smaller distances in front [of the body].

Movement ‘a’ in the middle is the balanced or parallel movement to its own scale and displays the biggest measure of still visible distortion [illegible]. While ‘u’ mostly occurs as residual momentum swinging or inhibition, whereas a usually signifies a balance point, calm, completion.

[Text No. 5]

Rhythm and harmony in movement

Spatial structures produce [their own] rhythm, in that bigger spatial structures produce more intense forces (in terms of space, duration and power combinations) than smaller spaces do. Irregular structured spaces increase the amount of force needed, regular spaces decrease the amount of force needed (proportionally?).

A different rhythm is created by the regulation or subdivision of time, which gives rise to spatial structures. This produces a freeing of the space, and often bears no relation to time, so that bigger and smaller spaces are “swung” at equal lengths of duration. Different emphasis in force can create different spatial forms, as will changes in pitch and also melody, to which dancers often create a spatial counterpoint, in that the higher notes – which are made up of the smallest and fastest vibrations – are often accompanied or visualised by the biggest expansions, which do, of course, fall towards the smallest spatial impulse point, as do the musical sounds. In terms of harmony, pitch can also have an impact, i.e. the formation of the space reacts to the harmonic of the base chord, the tonic, and its derivations. At the same time another important factor is the melody, that is, absolute pitch, (as opposed to relative pitch, where the actual place of the note in the scale is less important than the relation to the root chord, see music vibration/resonance), as well as the rhythm of time and force. One or the other will be emphasised more. There is often little attention on the space, until through a sequence of running or leaping a horizontal plane is created, whereas the highs and depths/lows as well as related directions are swung less. This is where we would place the phenomenon of step dancing which does have some artistic potential, but it is very one-sided. To follow the harmony, melody, rhythm of duration and force of a piece of music with one’s body in a way that embodies the qualities of dance but is also full of meaning is a very difficult art. Only a deep exploration of the parallels between movement harmony and music will allow the linking of movement and music. Often attempts deteriorate into a bit of dancing about to musical sounds and with some accompanying imaginings of musically inspired mime. Eternity, slowness, minor chords are all interpreted with exaggerated sad faces, major chords and speed provoke happy ones. There are occasional moments of dance steps from the repertoire of classical dance steps, but there is no sense of an actual dynamic space plasticity, which this most unique art form with its visual, sensory and therefore truly intellectual impact could offer. But as long as the link between spatial structure and harmony does not communicate to us, there is simply no meaningful art of movement and dance. Spatial dance is rhythm made visible, not through the more or less regular hopping about of a more or less regularly formed – and therefore pretty – body; nor through the mimicking of actions, but through the deliberate sequencing, linking, dissolving and transferring of spatial structures that are created and led following the laws of harmony and which can express in their entirety, within the dance piece a coherent idea of movement. (At our disposition we have a range of swinging motions of varying dimensions that we can use.)

[Text No. 6]

The conceptual rhythm caesura is the sentence, the thought. Sentences that are expressed through tonal metric are easier to remember. What is conceptual metric? Are there concepts of similar weight or duration with a regularity in the placement of values? A sentence is a directional section out of infinite knowledge.

In music the directional section of the infinite is the key signature. In movement, every direction (just as every concept, every sound), all these separate structures are in and of themselves works of art, artistic building blocks, elements of expression.

Equally, the thought, the content of a sentence, the rhythm, the sequence of movements are always an artificial limitation focusing on one detail within the universal.

A concept is a tension result with directional emphasis.

[Text No. 7]

The rhythm of time, space and force forms a direction with three-dimensional attributes. […]

Rhythm has become untethered as an independent structure which allows it to arbitrarily influence and explore new and previously unrelated paths and directions. Proliferation of organic stuff. At the same time, melodic patterns, i.e. the linear execution of a direction or path according to a scale and the inherent configurations thereof have become free, as has harmony (the relation of tension groupings) can be mixed freely and independently of the organic will. There are boundaries of perception, of circumstances; there are relative harmonic relationships (1 : 2 : 3), that are intuitively understandable. These [relationships] enable the regulation and notation of the means of expression.

[Text No. 8]

The rhythmic-harmonic arts consist of:

Logic

Dance

Music

Dance – Sound - Word [“Tanz – Ton – Wort”]

The philosophies:

The term [concept] – knowing

Movement – feeling

Sound – willing

The [common] path of the[se] different forms of art is;

The spinning out or unrolling of shorter or longer components made up of inner combinations. When the word is used in a way that emphasises rhythm or the quality of the sound, the resulting form becomes semi musical, [this] also [applies to] movement. The rhythm and harmony within music can connect all three elements.

The action

Is not a simple term, not a simple movement, and cannot be contained in a simple sound. Action proclaims a judgement on what has been formed. Through the arts, action meets the thing as an object, a block that must be overcome.

The force of the artistic expression acts on the objective, the action, the creation or the destruction. The objective, the action returns in drama as the basic idea or motif, the path to its development is in the evolution of the basic idea towards its fulfilment. The whole composition becomes one phrase, one concept, one action.

In the rhythmic-harmonic work of art the basic idea is developed and repeated in order to create a greater whole. Elevating the action, the work of art contains a whole that is dissected and reassembled into a composition. The subsections of drama consist again of actions upon actions that are complicated by other actions, until the ultimate action is achieved. Perseverance, determination.

The rhythmic-harmonic representation of different concepts consists of a parallel understanding of infinite balance. In the representation of action the singular goal orientation leads to a finite revelation. Sound rhythm, concept and movement create drama, i.e. the elevation of action. While one or another factor may dominate, they must surely all be present.

The rhythmic-harmonic work of art can well be constructed on a single element (concept or sound or movement), but it is in the combination of the two or three elements that the artistic effect on the general public is achieved. (See: lyric poetry, song, musical dance. With the exception of sound, which has an inherent artistic immediacy but even here there are elements of movement – in rhythm.) In musical drama or the total work of art [= Gesamtkunstwerk] there is an overflow of the highest expression of all three elements. If none of the elements is reduced at any time, the effect can be overpowering.

Democracy

Wort ist Klangbild Des Form Begriffes

Wort ist Klangbild des Form Begriffes

Der einzelne Klang
Das Wort als zusammengesetzter Klang
Der Satz als Klangbildgruppe

(Rhytmik u. Melodik)

Formbegriffe oder Dinge sind Spannungserscheinungen die wir empfinden, wahrnehmen, erfahren

Missing Page 2

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Die Bewegung ist der Akt die Form zu bilden, das Wollen, die Gewalt.

Der Wortklang ist der Ausdruck unserer Wahrnehmung, des Fühlens, Gefühlen.

Die Formbilder, Begriffe sind unsere unterschiedlichen Wahrnehmungen.

Wahrnehmung der Gegenwart, Ahnung der Zukunft, Erinnerung der Vergangenheit ist der Gedanke des wahren Gewissens.

Die musikalischen Klänge sind die bisher noch ungesagte Worte, Gefühle.

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Worte sind Abbilder der Gefühle die mit Unterschiedlichkeiten scheinen.

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Wort ist Name eines Gefühles. Bewegung ist Ursache der Tat. Gefühl ist Wirkung der Tat. Wort ist Name eines Gefühles verursacht durch die Tatform welche durch die Tat der Bewegung entstand.

Beweggung formt Tat, Form Das Gefühl empfindet diese Tatform und nennt sie im Klang. Der Klang weckt wieder Bewegung. Und Gewalt weckt auch Bewegung.

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Gewissen weckt Bewegung, Gefühl weckt Bewegung.

Gewalt, Gefühl, Gewissen ist eines

Kraft die weckt / Bewegung

Den. Ausdruck von Gewalt, Gefühl und Gewissen.

Vereint / den Ausdruck von Kraft/ und von ihren einzelnen und gemischten Teilen.

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Nur sie weckt die Tatform, die Kraft, - Sie weckt auch den Namen Der gefühlten Tatform, das Wort. Und das Gfühl selbst, das Namenlose

Und das Wollen selbst, das Tatenlose

Und das Gewissen, Ohne Wissen.

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Wort ist der Klang/nahme der Empfindung welche die Dinge und Ideen in uns wecken. Schrift ist bei uns Klangschrift, bei anderen Begriffsschrift, Bild des Dinges selbst, oder seiner Spannung.

Jeder Laut ist im Grunde durch eine Bewegung darstellbar, und jede Bewegung

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Der Mensch denkt nicht gern nach. Er nimmt das Bild als bahre Mûnze. Das wie Papiergeld oft im Kurse schwankt

Und doch als praktisches Verständigungsmittel

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Dem Guten wie dem Bösen dient. Nur seine Taten mit zu fördern.

Wer Fühlen giebt will Taten fördern, wer Wollen giebt, erst recht!

Drum ist das Wort ein gutes Werkzeug.

Gefügig, billig zu verdrehen

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Zu neuem Ziel, zu andrem Zweck, als wie es gestern ward verwendet

Und innen nur der gute Mut, der klare Will, das tapfre Herz

Das sind die Treugefährten die dir niemals zum Schabernack gedeihn, noch deinen Freunden Possen spielen!

Democracy

Democracy is based on the [inherent] likeness of soul, body and mind of human beings. The intention of democracy is to help each individual to attain a certain degree of the complete development of their potential abilities, and to achieve a brotherly distribution of these abilities, gifts and life possibilities. Now there are evidently differences between human beings regarding their predispositions and their genetic heritance.

Individual attributes, whether internal, external or a mix of both, therefore need to be trained. It is of course quite right that in expectation of the result of this education there should be an economic improvement of those less fortunate. Furthermore, the social standing [of an individual] should not be determined according to a current inferior status, but according to the spark of the soul that is being raised through education, a spark which fundamentally must surely be present in everyone.

This also applies in the case of the mind-body contrast, in that neither of these attributes must be over or underestimated. Evidently such an education and development is only possible through the complete understanding and carefully balanced treatment of the thousandfold body-soul-mind nuances.

In order to awaken and regulate this understanding it is necessary to have mature and wise leaders, who combine the fervent wish for true democracy, for the common social, economic and political sophistication and for education and therefore tolerance and equality, with the ability to educate both the masses and the individual in this ideal.

Die Erde – The Earth

Es gibt nichts zu erlernen

Eine Wirkliche Qualitätsprüfung

Die Notwendigkeit der Herrenwirtschaft

Laban Freiheit und Soziabilitätt Translation

Neue Wege zur Bewegungsschönheit

Hordes of Production and Hordes of Destruction

The Word is a Sound Image

8 Sets of Notes on Rhythm

Democracy

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