soul calendar week 02 choreography
Choreography: week 01
Choreography: week 02.
The stage is like a human being. It has the polarity back and front of stage. More thinking like a head in the back, more actions in the front like the limbs, in between a median sphere. Many theatres accentuate this by a racked floor. On the left of the audience is stage right [SR] on the other side stage left [SL].
Starting place: The six are at in two groups of three. The three violets - 1,2,3 - are centre stage front. The tree yellows - 4,5,6 - are in a large smi circle spanning the back stage 4 is mid stage right [4SR}, 5 is back stage centre [5BCS] and 6 is msd stage left [6ML]. The group of three and 4, 5, 6 make a diamont shape with violet in front, the rest being yellow. They all are doing vowel movement.
The violet forms are leaf like, with large lobes in an upward, radiant tendency. The yellows first stand then make a circle and finally go towards the centre to make a small circle before going back to their starting place.
Basic movement during the BLUE and white lighting:
Ins Äußre des Sinnesalls
Verliert Gedankemacht ihr Eigensein;
The violets swoop backwards around the yellows, and then they meander or swing towards the centre and back towards the periphery. This is done in such a way that 1 goes around 4, 2 around 6 and 3 around 6.
Basic movement during the RED and green lighting:
Es finden Geisteswelten
Den Menschensprossen wieder,
Der seinen Keim in ihnen,
The yellows start slowly to circle around the places where they have been standing. The violets are now coming clockwise from the periphery towards the centre and back in a steady curving swing.
Basic movement during the RED and red lighting:
Doch seine Seelenfrucht
The violets accentuate their clockwise movement; now the meander goes back anti clockwise for a short space before swinging clockwise again. The yellows are going towards the centre away from their circle in a loop. So one can see the three violet as part of a very large sun wise circle going inwardly back on its self (moon wise movement); this is the form with the eurythmic name: the balance between the outer and the inner forces. The outer and the inner are in harmony; they are neither fighting nor conquering each other. Meanwhile the yellow do their small circle or loop, within this large open one.
Basic movement during the BLUE and green lighting:
in sich muss finden
They all go home! The violet in three large curves, the yellows with small curves as they are not very far!
The violet 1 leaf inclines to the right, its first and last part are larger. Violet 2 is partly overlapping the two others and inclines to the left. The third leaf covers the whole front of the stage [SF], but starts up like the others, (towards [SB]!). So in that way it does not look like a traditional leaf. The three stems of the leaves are together and the three extremities are covering the whole periphery of the stage.
Detail Movement during the BLUE and white lighting:
The violet go around the yellow in different ways, 1 goes fully around the space of 4, 2 and 3 go around for sure but within the circle that 5 and 6 will do later during the RED/green lighting.
Detail movement during the RED and green lighting:
They are all away from the front of the stage, leaning towards the left in this clockwise, sun wise, movement. 1 is meandering between 4 and 5, 2 between 5 and 6 and 3 to the stage front of 6.
Detail movement during the RED and red lighting:
The sun wise meander of the violet influences the yellows in their loop towards the centre. They incline their loop sun wise. By now the violet 1 is go well away from its yellow 4 and meander back around (and before) where the yellow 2 had done its circle. Violet 2 does the same as it meanders around 6. There are differences between violet 1 and 2. The path of violet 1 goes between the circle and the loop of the second yellow - yellow 5. The path of violet 2 goes through the back and periphery [SL] side of the third yellow, yellow 6. If the large circle would be completed the form seems to indicate that violet 3 would enclose fully the first yellow form. As the meander goes clock wise again: 2is behind 5, 2 behind 6 and 3 far in front of 1 - 2 and 3 are very close to yellow 5 and 6.
Detail movement during the BLUE and green lighting:
Violet 3 first finishes its outwards swoops which brought it near the first yellow, yellow 4 and goes home in finishing a large sun wise circle, a slightly open one. Violet 1 and 3 who were near the choreography of the third yellow go home with a small wave. In so doing these violet finish their oblong circle around yellow 4 and 5, the second and third ones.
Remark: Two groups one wide as the spirit worlds, one smaller as the human microcosm is. The lighting brings quite different moods. The forms, which spatially look like simple leaf at, first take manifold dynamism. As the text will unfold, many details will appear as essential parts of a process in time.
As the prelude. Violet do consonants and yellow do vowels, even when they, at first stand.
The lighting is in contrast, unlike for the first week. The last two lines have each a lighting of their own! It is at first all red. The last line takes up elements of the first second lightings, linking back to he first human/cosmic situations.
The yellows are fourfold in time: the human thought power, the offspring of the worlds of spirit, the souls own fruits and himself. There are nevertheless threefold in space, as the human microcosm is reflecting the threefoldness of the macrocosm (the violets). Here the number principle breaks off from the first week. Steiner eurythmic choreography are quite precise. Nevertheless, while the first violets-woops are around the spaces of the yellows; the next time round the violets will encroach upon these spaces and this in different ways, times and relationships.
What at first seems a slight misplacing of the pencil marks, become a lesson in the different aspects of micro/macrocosmic relations. Furthermore, a lesson, for example, of the relation of thinking with the feeling and the willing within thinking; as shown in Steiners letters to members and elsewhere.
Steiner linked the artistic existential experience of the first Goetheanum with the raging questions of the European nations when he described the sculpted capitals of the columns at the time of the First World War. He only pointed at things, to encourage his contemporaries not to keep their artistic tendencies absolutely separated from their thinking life.
Often mantra are either a text or a figure, here they are both! Speech formation is not a pre-requisite for the buyer of the book, nor is eurythmy for the onlooker of he choreography, be it on stage or in a book form.
Epilogue: is the prologue.
Trying to but in colour painting/drawing the epilogue, it looks other than the prologue. I am sure for an audience it also feels different, yet the formal choreography is the same.