{"corpus":"steiner","locus":"GA 277b/1920-03-28/p009-p013","extent":"range","passage_number":9,"through":13,"paragraph_count":5,"first_locus":"GA 277b/1920-03-28/p009","last_locus":"GA 277b/1920-03-28/p013","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"54. Eurythmy Performance","date":"1920-03-28","location":null,"alignment_confidence":"medium","alignment_reason":"off_by_one_paragraph","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/SOL2024/19200328e01.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":1.02,"band":"comparable","note":null,"word_count":2257,"original_word_count":2218,"may_be_abridged":false},"site_heading":null,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-03-28/p009-p013","json_url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-03-28/p009-p013.json","lecture_url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-03-28#p009","word_count":844,"quote_safe":true,"passages":[{"passage_number":9,"locus":"GA 277b/1920-03-28/p009","text":"Now, of course, this eurythmic art is only at the beginning of its development, and that is why it is still difficult to find one's way into it today. But this beginning can already be described as a solution to much of what is currently being sought in art in a certain field of artistic work. We see how people who want to be artistically active today are looking for new ways, for example, the expressionist, the impressionist way, how they produce many caricatures in this way. One does not have to look at what can already be produced by us today, but one must look at what is wanted.","text_trust":"verbatim","quote_safe":true,"word_count":110,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-03-28/p009","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/SOL2024/19200328e01.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":"not_checkable","note":"No verified paragraph alignment covers this passage, so its names cannot be compared with the German."},"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":10,"locus":"GA 277b/1920-03-28/p010","text":"We can see, however, that when we are presented with these new artistic endeavors in the fields of painting or sculpture, for example, the artists are still struggling with the fact that the means still seem unusable today, or that the forms of expression cannot be created immediately. It is important to realize that in every such period, when a new direction is being sought in the field of art in particular, there is a tendency to fall back on what must underlie all art, all real art, but what is somewhat lost to artistic creation when the epigone-like, the imitation in art compared to the epochs of genius, comes to the fore too strongly. All real art-making is based on our relationship to the world – whether we are aesthetic connoisseurs or artistic creators – all art-making is based on our perception, on our entire imagination. The conceptual, the ideational actually snatches art away; the ideational actually has a killing, paralyzing effect on everything artistic. If we want to look at nature artistically or recreate nature, for example, we have to turn our attention to nature in such a way that we do not yet progress from contemplation to comprehension in our thinking, but that we remain with our whole devotion to nature in contemplation, but look at the sensual forms so purely, as if they themselves were already thoughts.","text_trust":"verbatim","quote_safe":true,"word_count":231,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-03-28/p010","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/SOL2024/19200328e01.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":"not_checkable","note":"No verified paragraph alignment covers this passage, so its names cannot be compared with the German."},"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":11,"locus":"GA 277b/1920-03-28/p011","text":"For a time, Impressionism tried to do this. In the field of painting, it was not at all able to achieve appropriate forms of artistic expression. As expressionism, it then tried to grasp the other side of avoiding the ideal by simply trying to bring soul experiences that come into their own in a kind of powerfully visionary form in man, but which do not come up to the clear thought that guides everything artistic, by trying to bring such visionary artistic experiences into forms and colors. Those who are easily inclined to philistinism cannot appreciate this beginning. They see only something in what is being attempted, to hold on to inner experiences through colors and forms, and then they say: We cannot distinguish whether it is a matter of hung-out laundry or a ship's sail or something of that sort. The philistine mind refuses to admit that this is not the point. The point is not that you simply hang something on the wall that reflects an inner experience; but as I said, artistic means of expression were not yet available. Therefore, even when one approaches these things with all good will, one is often compelled to say, especially in the face of these attempts at painting today: Yes, it is based on something visionary, it is an illusion, it is an expression, but it is not yet a healthy expression, it is not yet that which the healthy soul can truly experience.","text_trust":"verbatim","quote_safe":true,"word_count":244,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-03-28/p011","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/SOL2024/19200328e01.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":"not_checkable","note":"No verified paragraph alignment covers this passage, so its names cannot be compared with the German."},"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":12,"locus":"GA 277b/1920-03-28/p012","text":"In eurythmy, at least a path has been opened up, albeit in a very imperfect way even today. It involves a different means of expression, in order to become both impressionistic and expressionistic in a different way. We are dealing here with the human being, with the moving human being, and so with something that can be observed by the observer with the senses, something that can be presented in the medium of the senses. But what is being presented, these movements, are not something that merely needs to be looked at, but rather can be observed in a certain way, just as one can listen to speech or sound, to song, and discern something of the soul in it. What the expressionist wants, for example, that the soul he has painted into his forms and form structures is inside them – can easily be achieved when presented in eurythmy. Because this eurythmic art that I have presented is, like human language, the expression of the soul, of the spiritual, everywhere.","text_trust":"verbatim","quote_safe":true,"word_count":171,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-03-28/p012","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/SOL2024/19200328e01.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":"not_checkable","note":"No verified paragraph alignment covers this passage, so its names cannot be compared with the German."},"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/1920-03-28/p013","text":"And what the Impressionists sought to achieve by capturing the external image directly, before they had arrived at the thought, can also be expressed in eurythmy, because it is not something that is merely formed artificially. Not even the gesture is formed artificially, but the human organism is studied in terms of how it emits something through the natural movement of its arms, through the natural movement of its whole environment, which corresponds to the movement tendencies that are as natural as in the larynx when we speak.","text_trust":"verbatim","quote_safe":true,"word_count":88,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-03-28/p013","german_anchor":{"de_prefix":"1920-03-28","de_passages":[{"locus":"GA 277b/1920-03-28/p013","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-03-28/p013"}],"bead_confidence":"high","pairing_state":"verified","verified":true,"evidence":["reader"],"reader_german":["GA 277b/1920-03-28/p013"],"length_check":{"de_words":97,"en_words":88,"ratio":0.91,"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/SOL2024/19200328e01.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/1920-03-28/p013"],"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":19,"passage_count":19,"word_count":2218},{"lang":"en","edition":"English","is_original":false,"is_default_edition":true,"first_passage":1,"last_passage":20,"passage_count":20,"word_count":2257,"completeness":{"ratio":1.02,"band":"comparable","note":null}}],"aligned_witness":{"status":"partly_aligned","lang":"de","edition":"original","confidence":"high","passages":[{"locus":"GA 277b/1920-03-28/p013","passage_number":13,"text":"Man kann auch das erreichen, was der Impressionist, der unmittelbar festhalten will das äußere Bild, bevor er zum Gedanken gekommen ist, [erreichen will], kann auch das gerade im Eurythmischen zum Ausdruck bringen, weil man es eben gar nicht mit irgendetwas zu tun hat, was da erst künstlich ausgeformt wird. Nicht einmal wird erst die Gebärde künstlich ausgeformt, sondern es wird der menschliche Organismus studiert, inwieferne er durch die natürliche Bewegung seiner Arme, durch die natürliche Bewegung seiner ganzen Umgebung etwas abgibt, was gleichkommt den Bewegungstendenzen, die so natürlich wie im Kehlkopf zu vollführen sind, wenn wir sprechen.","text_trust":"verbatim","quote_safe":true,"word_count":97,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-03-28/p013"}],"beads":[{"from":[13],"to":[13],"confidence":"high","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).","uncovered":[9,10,11,12]}}