{"corpus":"steiner","locus":"GA 277b/1920-04-18/p004","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"Now, with eurythmy, something is to be created that - like everything here with us - is born out of a truly Goethean worldview and artistic attitude, out of real Goetheanism. I need only point to a single word used by Goethe, and it is the one word that, I would say, characterizes the whole essence of artistic creation and artistic urge. It is the concept, the word sensual-supersensible [contemplation]. Art must certainly strive to work through the sense image or through the audible sense, and not only must that which is directly sensuous work in art, but the supersensuous must one day speak through the sense, hence Goethe's word for everything artistic can be used: “sensual-supernatural”. The source of the sensual and the supersensible is what this eurythmic art seeks to rediscover in its originality, and in the following way: you will see on the stage how the individual performers express movements of their limbs, how movements are performed by the whole person, how movements are performed by groups of people. These movements could very easily be mistaken for arbitrary gestures, for an arbitrary mimicry that has been invented in addition to what is encountered musically on the one hand and rhetorically on the other. But there is nothing arbitrary in our eurythmic art. It has really come about through careful study of human speech and singing itself. To make it clear how people do this, I would like to refer to Goethe's theory of metamorphosis, the principle by which Goethe dared to bring something into the science of the living, into the knowledge of the living, whereby one can really come closer to understanding it. Despite all efforts, Goethe's theory of metamorphosis is still far too little appreciated today, even in scholarly and artistic circles. It looks simple, but there is a lot in the impulse that Goethe describes, when he says: If I look at a plant, then every single leaf, whether it sits [in a simpler form] deep down on the stem or sits in a complicated way on a normal part of the stem, is thought to have emerged directly from the other through a metamorphosis. amorphous, to think that each individual leaf, whether it is [of a simpler form] and sits low down on the stem or is intricately arranged at a normal point on the stem, has emerged directly from the other, but also that the colored petal or even the stamen and pistil are only metamorphosed, transformed leaves and the whole plant is a complete [leaf], just as each individual leaf is a simplified whole plant.","text_trust":"verbatim","quote_safe":true,"title":"60. Eurythmy Performance","site_heading":null,"date":"1920-04-18","location":null,"word_count":434,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-18/p004","alignment_confidence":"medium","alignment_reason":"beads:length","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/SOL2024/19200418e01.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"]},"available_versions":[{"lang":"de","edition":"original","edition_basis":null,"is_original":true,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-18/p004"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-18/p004","paragraph_aligned":true}],"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},"german_anchor":{"de_prefix":"1920-04-18","de_passages":[{"locus":"GA 277b/1920-04-18/p004","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-18/p004"}],"bead_confidence":"high","pairing_state":"verified","verified":true,"evidence":["reader"],"reader_german":["GA 277b/1920-04-18/p004"],"length_check":{"de_words":390,"en_words":434,"ratio":1.11,"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."},"paired_german":{"status":"paired","german":[{"locus":"GA 277b/1920-04-18/p004","passage_number":4,"text":"Nun soll mit der Eurythmie etwas erschaffen werden, was - wie alles hier bei uns — herausgeboren ist aus echt goethescher Weltanschauung und Kunstgesinnung, aus wirklichem Goetheanismus. Ich brauche nur auf ein einzig[es] Wort hin[zu]weisen, das Goethe gebraucht hat, und es ist zu gleicher Zeit dasjenige Wort, welches, möchte ich sagen, die ganze Wesenheit des künstlerischen Schaffens und des künstlerischen Drängens charakterisiert. Es ist der Begriff, das Wort sinnlich-übersinnliche [Anschauung]. Gewiss, die Kunst muss anstreben, durch sinnliches Bild oder auch durch das Hörbare Sinnliches zu wirken, ja es muss in der Kunst nicht nur dasjenige wirken, was unmittelbar sinnlich ist, sondern es muss durch das Sinnliche dereinst sprechen das Übersinnliche, daher das Goethe’sche Wort für alles Künstlerische zu gebrauchen ist: «Sinnlich-übersinnlich». [Die] Quelle nun des Sinnlich-Übersinnlichen möchte gerade diese eurythmische Kunst versuchen wiederzufinden in ihrer Ursprünglichkeit, und zwar auf folgende Weise: Sie werden sehen auf der Bühne, wie von den einzelnen Menschen, die auftreten, Bewegungen ihrer Leibesglieder ausgedrückt werden, wie vom ganzen Menschen Bewegungen ausgeführt werden, wie von Menschengruppen Bewegungen [ausgedrückt werden]. Diese Bewegungen — man könnte sie sehr leicht ansehen für willkürliche Gesten, für eine willkürliche Mimik, die äußerlich hinzu erfunden wären zu dem, was einem musikalisch auf der einen Seite, rhetorisch auf der anderen Seite entgegentritt. Aber es ist nicht solches Willkürliches in unserer eurythmischen Kunst enthalten. Sie ist wirklich durch sorgfältiges Studium des menschlichen Sprechens und Singens selber entstanden. Dann möchte ich, um verständlich zu machen, wie das Menschen machen, auf das Gebiet der Goethe’schen Metamorphosenlehre hinweisen, jenes Prinzip, durch das Goethe es wagte, in die Wissenschaft vom Lebendigen, in die Erkenntnis vom Lebendigen etwas hinein[zu]bringen, wobei man dem Verständnis dieses [Lebendigen] wirklich näherkommen kann. Diese Goethe’sche Metamorphosenlehre ist trotz aller Bemühungen heute noch - auch von gelehrten Kreisen und künstlerischen Kreisen - viel zu wenig gewürdigt. Es sieht einfach aus, aber es steckt viel [in] dem Impulse, den Goethe [be]schreibt, indem er sagt: Schaue ich eine Pflanze an, so ist jedes einzelne Blatt, ob es nun [in einfacherer Gestalt] tief unten am Stängel sitzt oder kompliziert an einer normalen Stelle des Stängels sitzt, durch eine Metamorphose unmittelbar aus dem anderen hervorgegangen zu denken, aber auch das gefärbte Blütenblatt oder auch das Staubgefäß und Stempel sind nur metamorphosierte, umgeformte Blätter und die ganze Pflanze ist ein komplett[es] Blatt, wie jedes einzelne Blatt eine vereinfachte ganze Pflanze ist.","text_trust":"verbatim","quote_safe":true,"word_count":390,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-18/p004"}],"english":["GA 277b/1920-04-18/p004"],"method":"reader","confidence":"high","correspondence":"established","length_check":{"de_words":390,"en_words":434,"ratio":1.11,"partial":false},"pairing_state":"verified","verified":true,"evidence":["reader"],"reader_german":["GA 277b/1920-04-18/p004"]},"witness_completeness":{"ratio":0.94,"band":"comparable","note":null,"word_count":1860,"original_word_count":1987,"may_be_abridged":false},"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/SOL2024/19200418e01.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/1920-04-18/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."}}