{"corpus":"steiner","locus":"GA 277a/1918-02-13/p003-p007","extent":"range","passage_number":3,"through":7,"paragraph_count":5,"first_locus":"GA 277a/1918-02-13/p003","last_locus":"GA 277a/1918-02-13/p007","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"Address on Eurythmy","date":"1918-02-13","location":null,"alignment_confidence":"high","alignment_reason":"beads:identity","two_voice_volume":false,"translation_credit":{"scope":"unit","status":"established","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"The Origin and Development of Eurythmy 1912–1918","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277a/English/SOL2024/19180213p01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"edition_coverage":{"de":["original"],"en":["English"]},"record":{"record_type":"unknown","scope":"volume","note":"How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. Unknown is not an assurance of a stenogram: check the edition's own notes before resting an argument on one word.","evidence":null,"evidence_translation":null,"evidence_source":null},"witness_completeness":{"ratio":1.01,"band":"comparable","note":null,"word_count":1061,"original_word_count":1054,"may_be_abridged":false},"site_heading":null,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277a/1918-02-13/p003-p007","json_url":"https://anthroposophy.ai/v1/steiner/en/ga/277a/1918-02-13/p003-p007.json","lecture_url":"https://anthroposophy.ai/v1/steiner/en/ga/277a/1918-02-13#p003","word_count":868,"quote_safe":true,"passages":[{"passage_number":3,"locus":"GA 277a/1918-02-13/p003","text":"Ms. Smits expressed the opinion that we too could cultivate something that is the art of dance. What we cultivate should have something to do with spiritual life. On the other hand, we must remember the origins of art and the arts in general. They arose when the whole of human nature was much more unified. In very early times, there was no separation between science, religion, and art; they were united in one great whole. Science served to explain religious cult and what it presented. Thus, the arts served to shower inner devotion, evoked by cult, with beauty. Beauty served the divine. Beauty expressed what was also religious worship. The three separated, and within art, the individual arts separated again. Today, one cannot begin a completely religious dance; that would violate all the laws of humanity, but one can create an approximation of religious dance. Richard Wagner already brought two arts together.","text_trust":"verbatim","quote_safe":true,"word_count":153,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277a/1918-02-13/p003","witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"The Origin and Development of Eurythmy 1912–1918","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277a/English/SOL2024/19180213p01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 277a/1918-02-13/p003"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"high","note":"Every load-bearing name in the German counterpart appears in this English passage. That is a check on NAMES only: a translation can keep every name and still reverse who acts on whom, change a number, or soften a claim. Read the German for anything you intend to rest an argument on."},"note":"quote_safe certifies the bytes of this text. This block is about the translation as a WITNESS: who made it, and whether it carries the same names as the original. See witness_completeness for how much of the original this witness holds."}},{"passage_number":4,"locus":"GA 277a/1918-02-13/p004","text":"How did certain forms of dance come about? It turned out that human beings, who have a body capable of forming images, basically always perform movements such as those demonstrated in eurythmy. Every organ and every organ system is, in a certain sense, a whole human being. The same applies to what is connected with speech and word formation. The tongue, larynx, and lungs are, in an ethereal sense, a whole human being and perform certain movements. What vibrates in the larynx and other organs is a weakening of what happens in a magnificent way when humans speak and think. You can observe this in the larynx, tongue, and palate. Eurythmy is an expression of the whole human being, whereas speech, for example, sets only part of the human organism in motion. In eurythmy, the whole human being is set in motion; instead of speaking through the larynx alone, the whole body is used. Human feelings are also involved in human speech. What comes in through rhyme and through music is also expressed through eurythmy.","text_trust":"verbatim","quote_safe":true,"word_count":175,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277a/1918-02-13/p004","witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"The Origin and Development of Eurythmy 1912–1918","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277a/English/SOL2024/19180213p01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 277a/1918-02-13/p004"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"high","note":"Every load-bearing name in the German counterpart appears in this English passage. That is a check on NAMES only: a translation can keep every name and still reverse who acts on whom, change a number, or soften a claim. Read the German for anything you intend to rest an argument on."},"note":"quote_safe certifies the bytes of this text. This block is about the translation as a WITNESS: who made it, and whether it carries the same names as the original. See witness_completeness for how much of the original this witness holds."}},{"passage_number":5,"locus":"GA 277a/1918-02-13/p005","text":"What the etheric body expresses can be formed into movements that are only latent in ordinary speech and singing, but not expressed; for example, we hold back a forward movement with the larynx. In eurythmy, on the other hand, this movement is carried out, this timbre of feeling is revealed, and virtual energy is transformed into potential energy.","text_trust":"verbatim","quote_safe":true,"word_count":58,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277a/1918-02-13/p005","witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"The Origin and Development of Eurythmy 1912–1918","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277a/English/SOL2024/19180213p01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 277a/1918-02-13/p005"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"high","note":"Every load-bearing name in the German counterpart appears in this English passage. That is a check on NAMES only: a translation can keep every name and still reverse who acts on whom, change a number, or soften a claim. Read the German for anything you intend to rest an argument on."},"note":"quote_safe certifies the bytes of this text. This block is about the translation as a WITNESS: who made it, and whether it carries the same names as the original. See witness_completeness for how much of the original this witness holds."}},{"passage_number":6,"locus":"GA 277a/1918-02-13/p006","text":"This gives only a hint that we want something real with eurythmy. What otherwise passes into the gesture of the air and into the neighboring organs is carried out in eurythmy and becomes an image. Through every visualization, however, one comes closer to the spiritual. In a sense, what is subjective becomes objective; the human being becomes an imprint of something superpersonal, an image of something spiritual. This, however, takes eurythmy out of what is otherwise usually cultivated as the art of dance, which is otherwise an expression of the personal. The mimicry of personality is more or less suppressed. The aim is to achieve the regularity that underlies music. Eurythmy creates this, which makes it an art form for which it is particularly well suited.","text_trust":"verbatim","quote_safe":true,"word_count":126,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277a/1918-02-13/p006","witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"The Origin and Development of Eurythmy 1912–1918","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277a/English/SOL2024/19180213p01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 277a/1918-02-13/p006"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"high","note":"Every load-bearing name in the German counterpart appears in this English passage. That is a check on NAMES only: a translation can keep every name and still reverse who acts on whom, change a number, or soften a claim. Read the German for anything you intend to rest an argument on."},"note":"quote_safe certifies the bytes of this text. This block is about the translation as a WITNESS: who made it, and whether it carries the same names as the original. See witness_completeness for how much of the original this witness holds."}},{"passage_number":7,"locus":"GA 277a/1918-02-13/p007","text":"More recent art forms are Impressionism and Expressionism. When a painter places dots of color next to each other in such a way that, from a certain distance, the eye perceives an impression similar to that created by light, matter, and cast shadows, this intermingling of colors is produced by Impressionism. In Expressionism, nothing is given, but only what is experienced in the artist's soul in a kind of clairvoyant way. This is achieved through certain color combinations. Expressionism is the exact opposite of Impressionism. One only needs to like what the artist has experienced in his soul. Poetry is an extremely impressionistic art, while dance is an expressionistic art. It is precisely through the expressive forms of dance that the soul of a person is expressed. In recent years, poetry has worked together with eurythmy. As a result, the impressionistic works together with the expressionistic, and this has become a demand. At first, it was believed that recitation should take a back seat. However, the fact that both are expressed creates two streams of feeling in the human soul. One stream is that of a quiet fear and the other that of a quiet sense of shame. The fact that the two swing like opposite pendulum swings, that one always swings back and forth between the two feelings, is precisely what should happen. The peculiar harmonious interaction comes about as a result, with one sounding out one moment and the other the next. We hope that something will come out of eurythmy that we cannot yet imagine, but which can then be exposed and seen publicly. All kinds of dancing have become popular, causing humanity to suffer from spiritual indigestion. Terpsichoritis is also one of the things that has afflicted humanity in recent years. When eurythmy is performed, one participates with the etheric body – should one do that? What the poem does not say, the eurythmic interpretation can sometimes point to backgrounds that otherwise remain hidden; it can reveal what works through the poet and what cannot be conveyed through words. What would otherwise remain hidden is thus revealed through the work of art.","text_trust":"verbatim","quote_safe":true,"word_count":356,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277a/1918-02-13/p007","witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"The Origin and Development of Eurythmy 1912–1918","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277a/English/SOL2024/19180213p01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 277a/1918-02-13/p007"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"high","note":"Every load-bearing name in the German counterpart appears in this English passage. That is a check on NAMES only: a translation can keep every name and still reverse who acts on whom, change a number, or soften a claim. Read the German for anything you intend to rest an argument on."},"note":"quote_safe certifies the bytes of this text. This block is about the translation as a WITNESS: who made it, and whether it carries the same names as the original. See witness_completeness for how much of the original this witness holds."}}],"witnesses":[{"lang":"de","edition":"original","is_original":true,"is_default_edition":true,"first_passage":1,"last_passage":9,"passage_count":9,"word_count":1054},{"lang":"en","edition":"English","is_original":false,"is_default_edition":true,"first_passage":1,"last_passage":9,"passage_count":9,"word_count":1061,"completeness":{"ratio":1.01,"band":"comparable","note":null}}],"aligned_witness":{"status":"aligned","lang":"de","edition":"original","confidence":"high","passages":[{"locus":"GA 277a/1918-02-13/p003","passage_number":3,"text":"Frau Smits äußerte die Meinung, dass auch bei uns etwas gepflegt werden könnte, was Tanzkunst ist. Es soll etwas mit dem geistigen Leben zu tun haben, was wir pflegen. Auf der anderen Seite haben wir uns zu erinnern, an den Ursprung der Kunst, und der Künste überhaupt. Die sind entstanden, als die ganze menschliche Natur etwas viel Einheitlicheres war. In sehr frühen Zeiten gab es nicht Trennung zwischen Wissenschaft, Religion und Kunst, sie waren in einer großen Einheit vereinigt. Die Wissenschaft diente der Erklärung des religiösen Kultus und dessen, was er vorführte. So dienten die Künste dazu, innere Hingebung, durch den Kultus hervorgerufen, mit Schönheit zu übergießen. Die Schönheit diente der Göttlichkeit. Im Schönen kam zum Ausdruck, was zugleich religiöser Kultus war. Abgesondert haben sich die drei und innerhalb der Kunst haben sich wieder die einzelnen Künste abgesondert. Heute kann man nicht einen völlig religiösen Tanz beginnen, das würde gegen alle Gesetze der Menschheit verstoßen, aber Annäherung an den religiösen Tanz kann man schaffen. Richard Wagner ließ schon zwei Künste zusammenwirken.","text_trust":"verbatim","quote_safe":true,"word_count":171,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277a/1918-02-13/p003"},{"locus":"GA 277a/1918-02-13/p004","passage_number":4,"text":"Wie ist es zu bestimmten Tanzformen gekommen? Da ergab sich, dass der Mensch, der [einen] Bildekräfteleib hat, im Grunde genommen immer solche Bewegungen ausführt, wie sie in der Eurythmie vorgeführt werden. Jedes Organ und jedes Organsystem ist in gewisser Beziehung ein ganzer Mensch. So auch, was mit Sprach- und Wortbildung zusammenhängt. Zunge, Kehlkopf bis in die Lunge hinein ist ätherisch genommen ein ganzer Mensch und führt gewisse Bewegungen aus. Was im Kehlkopf und in den anderen Organen vibriert, ist eine Abschwächung dessen, was in großartiger Weise vor sich geht, während der Mensch spricht und denkt. Beobachten kann man es am Kehlkopf, an der Zunge, am Gaumen. Eurythmie ist Ausdruck durch den ganzen Menschen, was beim Sprechen zum Beispiel nur einen Teil des menschlichen Organismus in Bewegung setzt. In der Eurythmie setzt sich der ganze Mensch in Bewegung, statt wie bloß durch den Kehlkopf wird durch den ganzen Körper gesprochen. Im menschlichen Sprechen sind auch die menschlichen Gefühle beteiligt. Auch was durch den Reim hineinkommt und durch das Musikalische, wird durch Eurythmie ausgedrückt.","text_trust":"verbatim","quote_safe":true,"word_count":172,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277a/1918-02-13/p004"},{"locus":"GA 277a/1918-02-13/p005","passage_number":5,"text":"Was der Ätherleib zum Ausdruck bringt, kann zu solchen Bewegungen geformt werden, die im gewöhnlichen Sprechen, im gewöhnlichen Singen nur veranlagt, aber nicht ausgedrückt werden; wir halten zum Beispiel mit dem Kehlkopf eine nach vorn gehende Bewegung zurück. In der Eurythmie dagegen wird diese Bewegung ausgeführt, dieser Timbre des Gefühls kommt da zur Offenbarung, virtuelle Energie wird in potenzielle Energie umgesetzt.","text_trust":"verbatim","quote_safe":true,"word_count":61,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277a/1918-02-13/p005"},{"locus":"GA 277a/1918-02-13/p006","passage_number":6,"text":"Das gibt nur eine Andeutung, dass wir etwas Reales wollen mit der Eurythmie. Was sonst in die Geste der Luft und in die Nachbarorgane übergeht, wird in der Eurythmie ausgeführt, wird zum Bild. Durch jede Verbildlichung kommt man aber dem Geistigen näher. Gewissermaßen objektiv wird das, was subjektiv ist; der Mensch wird Abdruck eines Überpersönlichen, er wird Abbild eines Geistlichen. Dadurch wird aber die Eurythmie herausgeholt aus dem, was sonst gewöhnlich als Tanzkunst gepflegt wird, was aber sonst ein Ausdruck des Persönlichen ist. Die Mimik der Persönlichkeit wird mehr oder weniger zurückgedrängt. Gesetzmäßigkeit wird erstrebt, die dem Musikalischen zugrunde liegt. In der Eurythmie wird das geschaffen, wodurch sie eine Kunstrichtung wird, für die sie ganz besonders veranlagt ist.","text_trust":"verbatim","quote_safe":true,"word_count":118,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277a/1918-02-13/p006"},{"locus":"GA 277a/1918-02-13/p007","passage_number":7,"text":"Neuere Kunstrichtungen sind der Impressionismus und der Expressionismus. Wenn ein Maler nebeneinander die Farbenpunkte so setzt, dass in einer gewissen Entfernung für das Auge ein Eindruck entsteht, wie er sonst durch Licht, Materie und Schlagschatten entsteht, dieses Ineinander-Flimmern wird durch den Impressionismus erzeugt. Im Expressionismus wird darauf gar nichts gegeben, sondern nur auf das, was in der Seele des Künstlers gewissermaßen hellsichtig erlebt wird. Es wird erreicht durch gewisse Farbenzusammenstellungen. Expressionismus ist genau entgegengesetzt dem Impressionismus. Es braucht einem nur zu gefallen, was der Künstler in seiner Seele durchlebt hat. Die Dichtkunst ist in ausgesprochenem Maße eine impressionistische, die Tanzkunst dagegen eine expressionistische Kunst. Gerade durch die Ausdrucksformen der Tanzkunst kommt das Seelische im Menschen zum Ausdruck. In den letzten Jahren wirkte die Dichtkunst zusammen mit der Eurythmie. Dadurch wirkt gerade das Impressionistische zusammen mit dem Expressionistischen und das trat wie eine Forderung auf. Anfangs glaubte man, das Rezitieren sollte ganz zurücktreten. Dadurch aber, dass beides zum Ausdruck kommt, werden zwei Empfindungsströme in der menschlichen Seele erzeugt. Die eine Strömung ist die, dass man eine leise Furcht und die andere die, dass man ein leises Schamgefühl hat. Dass die zwei wie entgegengesetzte Pendelausschläge ausschlagen, dass man immer hin und her schwingt zwischen den zwei Empfindungen, das ist es gerade, was sein soll. Das eigentümlich harmonische Zusammenwirken kommt dadurch zustande, bald tönt das eine vor, bald das andere. Man hofft, dass aus der Eurythmie etwas herauskommen kann, wovon wir uns jetzt noch keine Vorstellung machen können, was sich dann aber auch exponieren, öffentlich sehen lassen kann. Umgegriffen hat gerade in der Zeit allerlei Tanzliches, worüber die Menschheit eine geistige Magenverstimmung erhalten hat. Die Terpsichoritis gehört auch zu dem, was die Menschheit in den letzten Jahren befallen hat. Wenn Eurythmie vorgeführt wird, da macht man mit dem Ätherleib mit - soll man das tun? Was das Gedicht nicht sagt, da kann manchmal die eurythmische Umsetzung auf Hintergründe hinweisen, die sonst verborgen bleiben, herausstellen kann sie, was durch den Dichter wirkt, und was nicht durch Worte gegeben werden kann. Dasjenige kommt dadurch aus dem Kunstwerk heraus, was sonst nicht geoffenbart würde.","text_trust":"verbatim","quote_safe":true,"word_count":348,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277a/1918-02-13/p007"}],"beads":[{"from":[3],"to":[3],"confidence":"high"},{"from":[4],"to":[4],"confidence":"high"},{"from":[5],"to":[5],"confidence":"high"},{"from":[6],"to":[6],"confidence":"high"},{"from":[7],"to":[7],"confidence":"high"}],"note":"Paired by the paragraph aligner; each language numbers its own paragraphs. A bead at either end of the span can carry text beyond it (the `from` numbers show what each bead covers)."}}