{"corpus":"steiner","locus":"GA 277b/1920-04-18/p008","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"Therefore, there is no arbitrariness to be found in such a representation, but rather, when two or three people at completely different times and in completely different places perform the same eurythmy, the different interpretations are unavoidable, just as when two pianists play the same sonata at two different places or at different times. In eurythmy, everything is built up in accordance with inner laws, like a series of successive movements of music in motion: just as the musical lives in the laws of melody and harmony, so this mute language expresses itself fully and lives in the moving forms. Of course, today we have to accompany what is being presented eurythmically – at least for a time – although we also present silent forms that one only has to feel. We have to do it accompanied by recitation and by the musical element. But these are only different expressive powers of one and the same thing. Therefore, you will particularly appreciate, when reciting, how we have to go back to the good old forms of recitation here, which have more or less already been lost to an unartistic world like ours. I would like to remind you of this, which is an indication of what is actually artistic in poetry. It is not what the literal text says. For example, Goethe himself rehearsed his “Iphigenia” with a baton, like a conductor.","text_trust":"verbatim","quote_safe":true,"title":"60. Eurythmy Performance","site_heading":null,"date":"1920-04-18","location":null,"word_count":232,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-18/p008","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/p008"},{"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/p008","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/p006","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-18/p006"}],"bead_confidence":"medium","pairing_state":"proposed","verified":false,"length_check":{"de_words":238,"en_words":232,"ratio":0.97,"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/p006","passage_number":6,"text":"Daher ist auch nicht irgendeine Willkür in einer solchen Darstellung zu suchen, sondern es ist so, dass, wenn zwei Menschen oder drei zu ganz verschiedenen Zeiten [an ganz verschiedenen] Orten ein und dasselbe eurythmisch darstellen. die unterschiedliche Auffassung nicht vermeidbar ist, [genauso wenig], als wenn zwei Klavierspieler ein und [dieselbe] Sonate an zwei verschiedenen Orten ‚oder [zu verschiedenen] Zeiten spielen. Es ist alles in der Eurythmie [wie eine Reihe] aufeinanderfolgender Bewegungen eine[r] bewegten Musik innerlich gesetzmäßig aufgebaut: So, wie das Musikalische im melodiösen Gesetzmäßigen lebt und im Harmonischen, so legt hier diese stumme Sprache dar all ihren Ausdruck, lebt in den bewegten Formen. Allerdings, wir müssen heute begleiten dasjenige, was eurythmisch dargestellt wird - wenigstens zeitweise, obwohl wir auch stumme Formen darstellen, ganz [stumme Formen], die man nur zu empfinden hat -, [wir] müssen es machen begleitet von der Rezitation und von dem musikalischen Element. Aber das sind nur andere Ausdruckskräfte ein und derselben Sache. Daher werden Sie insbesondere bei der Rezitation schen, wie wir zurückgehen müssen beim Rezitieren hier auf die guten alten Formen des Rezitierens, die einer unkünstlerischen Welt, [wie] die unsere ist, mehr oder weniger schon verloren gegangen sind. Ich möchte unter [anderem] erinnern [an] das, [was] ein Hinweis darauf ist, was in der Dichtung eigentlich das Künstlerische ist. Es ist nicht, [was] der wortwörtliche Text sagt. Goethe hat zum Beispiel selbst [seine] «Iphigenie» einstudiert mit [dem Taktstock], dieses Einstudieren gemacht wie ein [Kapellmeister] dasteht.","text_trust":"verbatim","quote_safe":true,"word_count":238,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-18/p006"}],"english":["GA 277b/1920-04-18/p008"],"method":"length","confidence":"medium","correspondence":"established","length_check":{"de_words":238,"en_words":232,"ratio":0.97,"partial":false},"pairing_state":"proposed","verified":false},"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/p006"],"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."}}