{"corpus":"steiner","locus":"GA 277b/1920-01-17/p012-p013","extent":"range","passage_number":12,"through":13,"paragraph_count":2,"first_locus":"GA 277b/1920-01-17/p012","last_locus":"GA 277b/1920-01-17/p013","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"40. Eurythmy Performance","date":"1920-01-17","location":null,"alignment_confidence":"medium","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 1918–1920","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277b/English/SOL2024/19200117e01.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":1.05,"band":"comparable","note":null,"word_count":1667,"original_word_count":1581,"may_be_abridged":false},"site_heading":null,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-01-17/p012-p013","json_url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-01-17/p012-p013.json","lecture_url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-01-17#p012","word_count":322,"quote_safe":true,"passages":[{"passage_number":12,"locus":"GA 277b/1920-01-17/p012","text":"In the recitation that will follow, you will notice a somewhat different approach to the art of recitation than you are otherwise accustomed to – especially in the present day. What can be brought out of poetry through the art of eurythmy is, after all, what is truly artistic. We need only recall how Goethe, even when he rehearsed his dramas, his Iphigenia, with his actors, did so with the baton in his hand – not as one today believes that the main thing lies in reciting the prosaic, in bringing out the content in particular. Rather, these still very artistic natures of Goethe's time – we find something similar in Schiller, something similar in Herder – they knew that the rhythmic, the formal, which underlies the shaping of speech, is the actual element of poetry and that this must be taken into account first and foremost when reciting.","text_trust":"verbatim","quote_safe":true,"word_count":149,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-01-17/p012","german_anchor":{"de_prefix":"1920-01-17","de_passages":[{"locus":"GA 277b/1920-01-17/p012","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-01-17/p012"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","anchors","reader"],"reader_german":["GA 277b/1920-01-17/p012"],"length_check":{"de_words":146,"en_words":149,"ratio":1.02,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. The German original passage(s) above are the edition-invariant anchor — fetch them (lang='de') to verify wording before quoting across editions."},"witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"The Origin and Development of Eurythmy 1918–1920","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277b/English/SOL2024/19200117e01.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 277b/1920-01-17/p012"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"medium","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":13,"locus":"GA 277b/1920-01-17/p013","text":"Thus, in our art of recitation, we try to practise an invisible eurythmy in the way we speak, I would say, to treat language in such a way that the lines are contained in the sounds, which you would otherwise see visibly as the moving human being on the stage. But you also see, my dear audience, that it is precisely through the eurythmic, which is to be practiced here in particular, that it is necessary to go back to the elements of the artistic, which today, more or less, are given less consideration, especially in the art of the time. Sometimes today we believe we are being very artistic, but we are not artistic at all if we do not really base art on the formal as the spatial-temporal, the movement-related, if we do not take into account what but] that which also underlies prose to the fore in poetry as well and actually sets up the art of recitation as if one wanted to communicate a content, not an inner movement.","text_trust":"verbatim","quote_safe":true,"word_count":173,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-01-17/p013","german_anchor":{"de_prefix":"1920-01-17","de_passages":[{"locus":"GA 277b/1920-01-17/p013","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-01-17/p013"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":165,"en_words":173,"ratio":1.05,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. The German original passage(s) above are the edition-invariant anchor — fetch them (lang='de') to verify wording before quoting across editions."},"witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"The Origin and Development of Eurythmy 1918–1920","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277b/English/SOL2024/19200117e01.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 277b/1920-01-17/p013"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"medium","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":14,"passage_count":14,"word_count":1581},{"lang":"en","edition":"English","is_original":false,"is_default_edition":true,"first_passage":1,"last_passage":14,"passage_count":14,"word_count":1667,"completeness":{"ratio":1.05,"band":"comparable","note":null}}],"aligned_witness":{"status":"aligned","lang":"de","edition":"original","confidence":"medium","passages":[{"locus":"GA 277b/1920-01-17/p012","passage_number":12,"text":"In dem Rezitatorischen, das parallel gehen wird, werden Sie eine etwas andere Handhabung der Rezitationskunst bemerken, als Sie sonst gewohnt sind - insbesondere in der Gegenwart. Dasjenige, was gerade durch die eurythmische Kunst aus der Dichtung hervorgeholt werden kann, das ist ja das eigentlich Künstlerische. Man braucht sich nur zu erinnern, wie Goethe, selbst wenn er seine Dramen, seine «Iphigenie» mit seinen Schauspielern einstudiert hat, dies mit dem Taktstock in der Hand gemacht hat - nicht so, wie man heute glaubt, dass die Hauptsache darinnen liegt, im Rezitieren das Prosaische, des Inhaltes besonders hervorzubringen. Sondern diese noch viel künstlerischen Naturen der Goethe-Zeit - wir finden Ähnliches auch bei Schiller, Ähnliches bei Herder -, sie wussten, dass das Taktmäßige, das Rhythmusmäßige, überhaupt das Formale, das der Sprachgestaltung zugrunde liegt, das das eigentliche Element der Dichtkunst ist und dass das in erster Linie beim Rezitieren berücksichtigt werden muss.","text_trust":"verbatim","quote_safe":true,"word_count":146,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-01-17/p012"},{"locus":"GA 277b/1920-01-17/p013","passage_number":13,"text":"So wird versucht, gerade in unserer Rezitationskunst in der Art und Weise des Sprechens, ich möchte sagen eine unsichtbare Eurythmie zu üben, die Sprache so zu behandeln, dass in dieser Sprachbehandlung jene Linien im Lautlichen drinnen sind, welche Sie sonst für das Auge sichtbar als den bewegten Menschen auf der Bühne sehen. Aber Sie sehen auch, meine sehr verehrten Anwesenden, dass es sich gerade durch das Eurythmische, das hier besonders betrieben werden soll, notwendig macht, wiederum auf die Elemente des Künstlerischen zurückzugehen, die heute mehr oder weniger - gerade in der Kunst der Zeit- weniger berücksichtigt werden. Manchmal glaubt man heute sehr künstlerisch zu sein und ist eigentlich durchaus nicht künstlerisch, indem man nicht das eigentlich Formale der Kunst wirklich als das Räumlich-Zeitliche, das Bewegungsmäßige zugrunde legt, indem man nicht das berücksichtigt, [sondern] dasjenige, was eben auch der Prosa zugrunde liegt, in den Vordergrund auch der Dichtkunst stellt und eigentlich die Rezitationskunst so einrichtet, als wenn man einen Inhalt, nicht eine innere Bewegung mitteilen wollte.","text_trust":"verbatim","quote_safe":true,"word_count":165,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-01-17/p013"}],"beads":[{"from":[12],"to":[12],"confidence":"medium","pairing_state":"verified"},{"from":[13],"to":[13],"confidence":"medium","pairing_state":"verified"}],"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)."}}