{"corpus":"steiner","locus":"GA 277b/1920-04-18/p010-p013","extent":"range","passage_number":10,"through":13,"paragraph_count":4,"first_locus":"GA 277b/1920-04-18/p010","last_locus":"GA 277b/1920-04-18/p013","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"60. Eurythmy Performance","date":"1920-04-18","location":null,"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"]},"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":0.94,"band":"comparable","note":null,"word_count":1860,"original_word_count":1987,"may_be_abridged":false},"site_heading":null,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-18/p010-p013","json_url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-18/p010-p013.json","lecture_url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-18#p010","word_count":592,"quote_safe":true,"passages":[{"passage_number":10,"locus":"GA 277b/1920-04-18/p010","text":"You will see various units of eurhythmicized [illegible word]. I would like to draw particular attention to the fact that today's performance attempts to present a scene from Goethe, the first scene of the second part of Goethe's “Faust”. While we have otherwise shown lyrical or epic representations, [...] [illegible word] we venture to present art dramatically. Now, I think that is something that I have not yet succeeded in doing, that eurythmic forms still arise that are suitable for the actual dramatic structure, for dramatic composition. The eurythmic art is just at the beginning - it will be perfected over time.","text_trust":"verbatim","quote_safe":true,"word_count":102,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-18/p010","german_anchor":{"de_prefix":"1920-04-18","de_passages":[{"locus":"GA 277b/1920-04-18/p008","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-18/p008"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","reader"],"reader_german":["GA 277b/1920-04-18/p008"],"length_check":{"de_words":106,"en_words":102,"ratio":0.96,"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/SOL2024/19200418e01.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/p008"],"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":11,"locus":"GA 277b/1920-04-18/p011","text":"But we have repeatedly tried with Goethe's “Faust” to use what we already have in eurythmy in such a way that where the poetry touches on the inner law of development, where the spiritual-supersensory in a dramatic poetry, in any drama, appears, we call on eurythmy for help. All scenes that take place, I might say, in the physical world, we have them presented like other scenes in the theater, but what points to the supersensible world is particularly suited to eurythmic presentation. You will see this in this first picture from the second part of Goethe's “Faust”. It is the one scene in which Goethe wanted to express himself by leading from the sensual into the supersensual. Faust has already lived through his life to the point that is presented to us at the end of the first part as a person who has incurred the most serious guilt. [...] [unclear passage, see notes]","text_trust":"verbatim","quote_safe":true,"word_count":155,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-18/p011","german_anchor":{"de_prefix":"1920-04-18","de_passages":[{"locus":"GA 277b/1920-04-18/p009","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-18/p009"}],"bead_confidence":"medium","pairing_state":"proposed","verified":false,"length_check":{"de_words":155,"en_words":155,"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/1920-04-18/p009"],"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":12,"locus":"GA 277b/1920-04-18/p012","text":"What must come to someone who is so burdened with guilt is the intrusion of the spiritual world and [a] healing from the spiritual world. This is what is needed, not a symbolic or allegorical representation, which would be inartistic. Goethe did not do that either, but he did depict what it is to have the supersensible world intrude in this Ariel scene with the elves, how the human being can strive for something new – even if they cannot thereby eradicate the guilt within them – when they come into right contact with the supersensible world. This is particularly suitable for eurythmic performances. Goethe wanted the second part of his “Faust” to be particularly suitable for the stage - and as far as the supersensory is concerned, if the eurythmic means of artistic expression had already existed in his time, he would undoubtedly have these [eurythmic means of artistic expression] /illegible passage] and would have presented that which otherwise, when the second part of “Faust” is presented on stage, always remains unsatisfactory.","text_trust":"verbatim","quote_safe":true,"word_count":173,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-18/p012","german_anchor":{"de_prefix":"1920-04-18","de_passages":[{"locus":"GA 277b/1920-04-18/p010","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-18/p010"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","anchors","reader"],"reader_german":["GA 277b/1920-04-18/p010"],"length_check":{"de_words":161,"en_words":173,"ratio":1.07,"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/SOL2024/19200418e01.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/p010"],"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/1920-04-18/p013","text":"Eurythmy really brings out the full inwardness of the [illegible word], while Goethe [gap:] meant: In something like? [illegible word] the second [part] of “Faust” I can with [illegible word] this first scene, which we are presenting here today in the first part before the break. So even the esteemed audience who have been here before will see how we are endeavoring to arrive at a [--] [unreadable passage] mode of presentation. We can say that we have made a great deal of progress in the last few months, particularly in the development of the forms of presentation. But we are well aware that the whole of eurythmic art is only at the beginning of its development and we are therefore convinced, although the strictest criticism comes from ourselves, that there is still room for improvement in this eurythmy. perfection [illegible word] [in] this eurythmy, that others or we ourselves, without [illegible word] [space], will still bring it to [a] higher form.","text_trust":"verbatim","quote_safe":true,"word_count":162,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-04-18/p013","german_anchor":{"de_prefix":"1920-04-18","de_passages":[{"locus":"GA 277b/1920-04-18/p011","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-18/p011"}],"bead_confidence":"medium","pairing_state":"proposed","verified":false,"length_check":{"de_words":165,"en_words":162,"ratio":0.98,"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/SOL2024/19200418e01.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/p011"],"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. 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Während wir sonst lyrische Darstellungen [zeigten] oder Episches [dargestellt] wurde, [...] /unleserliches Wort] [wagen wir uns daran], Kunst dramatisch dar[zu]stellen. Nun, [das ist] etwas, [meine] ich, was mir bis heute nicht gelungen ist, dass auch [solche] eurythmische Formen sich noch ergeben wie [die] für den eigentlichen dramatischen Aufbau, für die dramatische Gestaltung. Die eurythmische Kunst ist eben durchaus erst im Anfange - sie wird schon mit der Zeit vervollkommnet werden.","text_trust":"verbatim","quote_safe":true,"word_count":106,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-18/p008"},{"locus":"GA 277b/1920-04-18/p009","passage_number":9,"text":"Aber wir haben es mit dem Goethe’schen «Faust» wiederholt versucht, dasjenige, was wir schon an Eurythmie haben, so zu verwenden, dass da, wo die Dichtung das innerliche Entwicklungsgesetz berührt, wo also das Geistig-Übersinnliche in einer dramatischen Dichtung, irgendeinem Drama auftritt, dass wir da die Eurythmie zu Hilfe rufen. Alle Szenen, die sich nur, ich möchte sagen in der physischen Welt abspielen, die [lassen wir] darstellen wie andere Szenen auf dem Theater, dagegen dasjenige, was in die übersinnliche Welt weist, das kommt besonders zum eurythmischen Darstellen. Das werden Sie sehen bei diesem ersten Bild aus dem zweiten Teil des Goethe’schen «Faust». Es ist die eine Szene, wo Goethe entschieden dadurch sich ausdrücken wollte, dass er [aus] dem Sinnlichen ins Übersinnliche hinüberführte. Faust hat ja sein Leben bereits zu demjenigen Punkt durchlebt, der uns eben dargestellt wird am Ende des ersten Teiles als ein Mensch, der schwerste Schuld auf sich geladen hat. [...] [unverständliche Passage, siehe Hinweise]","text_trust":"verbatim","quote_safe":true,"word_count":155,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-18/p009"},{"locus":"GA 277b/1920-04-18/p010","passage_number":10,"text":"Dasjenige, was über einen so mit schwerer Schuld [Beladenen] kommen muss, das ist das Hereinragen der geistigen Welt und [ein] Gesunden aus der geistigen Welt heraus. Das braucht man, nicht symbolische[s] oder allegorische[s] Darstellen, was unkünstlerisch wäre. Das hat Goethe auch nicht getan, aber [er] hat dasjenige, was das Hereinragen einer übersinnlichen Welt ist, in dieser Ariel-Szene mit den Elfen dar[gestellt], wie der Mensch versuchen kann, zu Neuem [zu] streben - wenn er auch dabei die Schuld nicht in sich ertilgen kann -, wenn er mit der übersinnlichen Welt in eine rechte Berührung kommt. Das eignet sich ganz besonders für eurythmische Darstellungen. Goethe hat ja den zweiten Teil seines «Faust» ganz besonders bühnengerecht denken wollen - und was die Übersinnlichkeit [betrifft], wenn es zu seiner Zeit schon die eurythmischen Kunstmittel gegeben, hätte er ganz zweifellos an diese [eurythmischen Kunstmittel sich gewendet] /unleserliche Passage], hätte dasjenige dargestellt, was sonst immer, wenn der zweite Teil des «Faust» auf Bühnen dargestellt wird, unbefriedigend bleibt.","text_trust":"verbatim","quote_safe":true,"word_count":161,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-18/p010"},{"locus":"GA 277b/1920-04-18/p011","passage_number":11,"text":"Es wird durch die Eurythmie wirklich die ganze Innerlichkeit desjenigen zum [unleserliches Wort], während Goethe [Lücke:] meinte: In so etwas wie? [unleserliches Wort] den dem zweiten [Teil] des «Faust» kann ich mit [unleserliches Wort] dieser ersten Szene, die wir hier heute im ersten Teil vor der Pause wiederum zur Darstellung bringen. So werden auch an solchem Bilde die verehrten Zuschauer, die schon öfter da waren, sehen, wie wir uns bemühen, [.--] [unleserliche Passage] Vortragsweise zu kommen. Wir dürfen sagen, dass wir insbesondere in der Ausgestaltung der Form[en] doch einen ganzen [Schritt] in der [Gestaltung?], [der] Darstellung, [dass wir] es in den letzten Monaten schon wieder weitergebracht haben. Aber [wir] sind uns wohl dessen bewusst, dass die ganze eurythmische Kunst erst im Anfange ihrer Entwicklung steht [und] haben dadurch die Überzeugung, obwohl [die] strengste Kritik [von uns] selber [kommt], [Lücke] einer Vervollkommnung [unleserliches Wort] [in] diese Eurythmie, dass andere oder wir selber, ohne aber [unleserliches Wort] [Lücke] ist, sie zu [einer] höheren Form noch bringen werden.","text_trust":"verbatim","quote_safe":true,"word_count":165,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-04-18/p011"}],"beads":[{"from":[10],"to":[8],"confidence":"medium","pairing_state":"verified"},{"from":[11],"to":[9],"confidence":"medium","pairing_state":"proposed"},{"from":[12],"to":[10],"confidence":"medium","pairing_state":"verified"},{"from":[13],"to":[11],"confidence":"medium","pairing_state":"proposed"}],"note":"Paired by the paragraph aligner; each language numbers its own paragraphs. 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