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Else Klink : ウィキペディア英語版
Else Klink
Else Klink (23 October 1907 in Kabakada, Bismarck Archipelago to 18 October 1994 in Köngen, Germany) was director of the Eurythmeum Stuttgart, the first training centre for Eurythmy founded by Marie Steiner in 1923, from 1935 until 1991. In 1945 she established the Eurythmeum Stage Group, which she also led until 1991. Her work contributed centrally to establishing Eurythmy as a performing art within the culture of Europe and internationally.〔(Else Klink bei der Forschungsstelle Kulturimpuls ), retrieved 2014.11.26〕〔(Else Klink Encyclo.NL Nederlandse Encyclopedie retrieved 2014.11.28 )〕〔(Heute: Todestag von Else Klink, Info 3 retrieved 2014.11.28 )〕
== First experiences in Eurythmy ==

As the oldest daughter of Hans August Lorenz Klink, a northern German senior colonial official, and Nawjamba Ambo, an indigenous New Guinean, Else Klink grew up on Kabakada, one of the New Guinean islands. While attending a German girl’s school, Else lived with friends of her family in Freiburg im Breisgau. When her foster parents died in June 1917, she was taken in by Anna Wolffhügel, a teacher of Eurythmy. Anna's husband, Max Wolffhügel, a painter and later Waldorf teacher in Stuttgart, became leader of the Anthroposophical Branch in Freiburg in 1918 and he invited Rudolf Steiner to lecture on 19 August 1919. Rudolf Steiner recommended that the children take Eurythmy lessons from Alice Fels, who was holding classes in Freiburg.
From 1921-1926, Else Klink attended the first Waldorf school at the Uhlandshöhe in Stuttgart, where her talent for Eurythmy was identified. In 1924, she began taking a reduced load of other classes and spent most of her day in Eurythmy classes with Alice Fels, then leader of the Eurythmeum that stood next door to the school.
In October 1929 she went to the Netherlands to introduce Eurythmy there. Together with Wilhelmina Stigter, Klink fought the odds of a foreign language, long-distance commuting and only a small number of interested learners. In 1930 they held a first performance, in which she asked the dramatist, director and speaker, Otto Wiemer to recite and direct. It marked the beginning of a 30-year collaboration in which he was her artistic partner and advisor, lasting until Wiemer’s death in 1960. For five years she built up the Eurythmy work in the Netherlands, then became seriously ill in 1934 and was forced to leave.

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