{"corpus":"steiner","locus":"GA 277b/1920-04-17/p012-p014","extent":"range","passage_number":12,"through":14,"paragraph_count":3,"first_locus":"GA 277b/1920-04-17/p012","last_locus":"GA 277b/1920-04-17/p014","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"59. Eurythmy Performance","date":"1920-04-17","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/SOL2024/19200417e01.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":1.0,"band":"comparable","note":null,"word_count":2719,"original_word_count":2730,"may_be_abridged":false},"site_heading":null,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-17/p012-p014","json_url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-17/p012-p014.json","lecture_url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-17#p012","word_count":608,"quote_safe":true,"passages":[{"passage_number":12,"locus":"GA 277b/1920-04-17/p012","text":"In the first part of today's program, you will see a performance of the first scene of the second part of Goethe's “Faust” with the help of eurythmy. This first scene of the second part of Goethe's “Faust” has been misunderstood many times. It was objected that Goethe had made the transition from the first part of Faust to the second part far too easy for himself. Faust has incurred a heavy guilt, has brought people into the deepest misfortune, must have infinitely heavy pangs of conscience. And so he leaves us, if I may say so, in the first part. Now he stands before us again. He is supposed to continue on his path through life. The way Goethe presents it, it is not actually meant symbolically, but rather, it is meant that, indeed, when a person finds himself in such a terrible situation as Faust in this case, he must heal from within. This healing from within cannot, of course, be presented in any other way than by referring to the relationship between the human being and the spiritual world. It is a complete misunderstanding when some people have said in response to this first scene in the second part of Goethe's Faust: Yes, Goethe made things easy for himself. All you have to do is take a refreshing morning walk towards the rising sun after you have incurred a serious guilt, and you are restored to humanity. This is not, however, what is meant by this first scene of the second part of Faust; rather, what is meant by this scene is that a person, when he has so thoroughly ruined his conscience, can actually only recover it through a special connection to the spiritual world.","text_trust":"verbatim","quote_safe":true,"word_count":289,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-17/p012","german_anchor":{"de_prefix":"1920-04-17","de_passages":[{"locus":"GA 277b/1920-04-17/p012","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-17/p012"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"],"length_check":{"de_words":275,"en_words":289,"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/SOL2024/19200417e01.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/1920-04-17/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/1920-04-17/p013","text":"Of course, this can only be portrayed by depicting the spiritual world itself and its effect on the human being. This is what Goethe tried to do. But something like the penetration of the spiritual world into the sensual world can be well portrayed in eurythmy. And wherever the supersensible world must enter into human life in the dramatic [poetry] — otherwise we present lyric poetry, and you will also see today how we will present lyric poetry — but in the dramatic world, the eurythmic art is particularly suitable. I have not yet succeeded in finding a corresponding eurythmic form for the rest of the drama, but I am working on it and it must be found. It must also be possible to present the dramatic process as the actual artistic element of the dramatic and the tragic in eurythmy.","text_trust":"verbatim","quote_safe":true,"word_count":141,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-17/p013","german_anchor":{"de_prefix":"1920-04-17","de_passages":[{"locus":"GA 277b/1920-04-17/p013","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-17/p013"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":141,"en_words":141,"ratio":1.0,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. 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Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 277b/1920-04-17/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."}},{"passage_number":14,"locus":"GA 277b/1920-04-17/p014","text":"Until now, when we have attempted such dramatic representations, we have always presented that which simply depicts human life in the physical world in the same way as it is otherwise presented on stage. We depict the intrusion of the supersensible by using eurythmy, as you will see today. But we will also succeed in achieving something for the inner structure of the drama, for the plasticity and musicality of the dramatic action itself, as the eurythmic art develops. For we are still in the early stages of this eurythmic art. I ask you to bear this in mind today. We certainly do not imagine that we are already offering something complete; but those honored spectators who may have been here before and saw something months ago will notice how we have tried in recent months — namely, by forms over larger sentence structures over the construction of a poem, to include the inner form of poetry in the spatial form of movement - how we have in turn made progress in this eurythmic art as a result.","text_trust":"verbatim","quote_safe":true,"word_count":178,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-17/p014","german_anchor":{"de_prefix":"1920-04-17","de_passages":[{"locus":"GA 277b/1920-04-17/p014","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-17/p014"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","reader"],"reader_german":["GA 277b/1920-04-17/p014"],"length_check":{"de_words":192,"en_words":178,"ratio":0.93,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. 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Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 277b/1920-04-17/p014"],"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":19,"passage_count":19,"word_count":2730},{"lang":"en","edition":"English","is_original":false,"is_default_edition":true,"first_passage":1,"last_passage":19,"passage_count":19,"word_count":2719,"completeness":{"ratio":1.0,"band":"comparable","note":null}}],"aligned_witness":{"status":"aligned","lang":"de","edition":"original","confidence":"medium","passages":[{"locus":"GA 277b/1920-04-17/p012","passage_number":12,"text":"Sie werden heute sehen gleich im ersten Teil eine mit Zuhilfenahme der Eurythmie dargebotene Darstellung des ersten Bildes vom zweiten Teil des Goethe’schen «Faust». Dieses erste Bild des zweiten Teiles von Goethes «Faust» ist ja vielfach missverstanden worden. Man hatte ja eingewendet, dass Goethe sich den Übergang von seinem ersten Teil des «Faust» zum zweiten Teil viel zu leicht gemacht habe. Faust hat schwere Schuld auf sich geladen, hat Menschen ins tiefste Unglück gebracht, muss unendlich schwere Gewissensbisse haben. Und so wird er uns ja aus dem ersten Teil, wenn ich so sagen darf, entlassen. Nun steht er wieder vor uns. Er soll den Lebensweg weiterverfolgen. So wie Goethe das darstellt, ist es nicht eigentlich symbolisch gemeint, sondern es ist so gemeint, dass in der Tat der Mensch, wenn er auch in einer so furchtbaren Lebenslage wie der Faust in diesem Falle sich befindet, dass er von innen heraus gesunden muss. Dieses Gesunden-von-innen-heraus kann man natürlich nicht anders darstellen, als indem man Bezug nimmt auf die Beziehungen des Menschen zur geistigen Welt. Es ist ganz und gar missverstanden, wenn einzelne Menschen diesem ersten Bild des zweiten Teiles von Goethes «Faust» entgegengehalten haben: Ja, Goethe habe sich die Sache leicht gemacht. Da braucht man ja nur, nachdem man eine schwere Schuld auf sich geladen hat, einen erfrischenden Morgenspaziergang der aufgehenden Sonne gegenüber zu machen - und man sei wiederum dem Menschtum zurückgegeben. Das ist allerdings mit diesem ersten Bild des zweiten Teils des «Faust» nicht gemeint, sondern mit diesem Bilde ist gemeint, dass der Mensch, wenn er so gründlich sich sein Gewissen ruiniert hat, eigentlich nur durch einen besonderen Bezug zur geistigen Welt wiederum gesunden kann.","text_trust":"verbatim","quote_safe":true,"word_count":275,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-17/p012"},{"locus":"GA 277b/1920-04-17/p013","passage_number":13,"text":"Das kann natürlich nur dargestellt werden, indem man die geistige Welt selber in ihrer Einwirkung auf den Menschen darstellt. Das hat denn Goethe auch versucht. Aber gerade so etwas wie das Hereinragen der geistigen Welt in die sinnliche Welt, das lässt sich gut eurythmisch darstellen. Und überall da, wo in der dramatischen [Dichtung] — sonst stellen wir ja Iyrisch dar, und Sie werden auch heute sehen, wie wir lyrisch darstellen werden -, aber in der dramatischen Welt, wo die übersinnliche Welt ins Menschenleben hereinragen muss, da eignet sich eurythmische Kunst ganz besonders. Es ist mir ja noch nicht gelungen, für die übrige Dramatik eine entsprechende eurythmische Form schon zu finden, daran arbeite ich, das muss sich noch finden. Es muss sich auch die Möglichkeit finden, den dramatischen Gang als das eigentlich Künstlerische des Dramatischen und des Tragischen auch noch eurythmisch darzustellen.","text_trust":"verbatim","quote_safe":true,"word_count":141,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-17/p013"},{"locus":"GA 277b/1920-04-17/p014","passage_number":14,"text":"Bis jetzt haben wir, wenn wir solche Darstellungen des Dramatischen versucht haben, immer dasjenige, was einfach den Menschen in seinem Leben in der physischen Welt darstellt, das so dargestellt, wie es sonst auf der Bühne dargestellt wird. Nur das Hereinragen des Übersinnlichen stellen wir so dar, dass wir zu dem das Eurythmische zu Hilfe nehmen, wie Sie es auch heute sehen werden. Aber es wird auch noch gelingen, für den inneren Bau des Dramas, für die Plastik und das Musikalische in der dramatischen Handlung selbst bei Weiterentwickelung der eurythmischen Kunst etwas zu erreichen. Denn wir stehen durchaus mit dieser eurythmischen Kunst im Anfange. Das bitte ich Sie auch heute zu berücksichtigen. Wir bilden uns durchaus nicht ein, schon etwas Vollkommenes zu bieten; aber diejenigen verehrten Zuschauer, die vielleicht schon einmal da waren und vor Monaten etwas gesehen haben, die werden ja bemerken, wie wir versucht haben gerade in den letzten Monaten - namentlich, indem wir die Formen über größere Satzstrukturen über den Bau eines Gedichtes versuchen auszudehnen, einzubeziehen die innere Form der Dichtung in die Raumesform der Bewegung -, wie wir dadurch wiederum um ein Stück vorwärtsgekommen sind in dieser eurythmischen Kunst.","text_trust":"verbatim","quote_safe":true,"word_count":192,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-17/p014"}],"beads":[{"from":[12],"to":[12],"confidence":"medium","pairing_state":"verified"},{"from":[13],"to":[13],"confidence":"medium","pairing_state":"verified"},{"from":[14],"to":[14],"confidence":"medium","pairing_state":"verified"}],"note":"Paired by the paragraph aligner; each language numbers its own paragraphs. 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