{"corpus":"steiner","locus":"GA 277b/1920-07-11/p010-p012","extent":"range","passage_number":10,"through":12,"paragraph_count":3,"first_locus":"GA 277b/1920-07-11/p010","last_locus":"GA 277b/1920-07-11/p012","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"71. Eurythmy Performance","date":"1920-07-11","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/SOL2024/19200711e01.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":2074,"original_word_count":2078,"may_be_abridged":false},"site_heading":null,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-07-11/p010-p012","json_url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-07-11/p010-p012.json","lecture_url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-07-11#p010","word_count":355,"quote_safe":true,"passages":[{"passage_number":10,"locus":"GA 277b/1920-07-11/p010","text":"This enables us to extract from a poem – and in addition to the musical aspect, there will also be poems that are recited to accompany the eurythmy – the eurythmy merely expresses in silent, moving language what is expressed in the recitation in spoken language. We have the opportunity to express what concerns the whole human being, what is not expressed in the conventional or in mere thought expression - the inartistic in poetry. We have the opportunity to express the whole feeling and will, the whole personality of the human being as if in a large, moving larynx.","text_trust":"verbatim","quote_safe":true,"word_count":100,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-07-11/p010","german_anchor":{"de_prefix":"1920-07-11","de_passages":[{"locus":"GA 277b/1920-07-11/p010","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-07-11/p010"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","reader"],"reader_german":["GA 277b/1920-07-11/p010"],"length_check":{"de_words":107,"en_words":100,"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. 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/SOL2024/19200711e01.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/1920-07-11/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":11,"locus":"GA 277b/1920-07-11/p011","text":"To do this, however, it is necessary, and this must be mentioned again and again, that one must return to the actual artistic element of poetry. Our time is essentially unartistic, and it is therefore very common today to perceive what is literally the content as the essential thing about the poetic art. In contrast to this, it must be said again and again that Schiller, for example, had an indeterminate melody alive in his soul, and from this indeterminate melody anything could become, whether it was “The Diver” or “The Fight with the Dragon” or anything else - that only emerged later. The essential thing for Schiller was not the literal content, [gap in the text] not the prose that is in the poem, but the important thing was the rhythm, the beat, the musicality, the plasticity, the imagery.","text_trust":"verbatim","quote_safe":true,"word_count":140,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-07-11/p011","german_anchor":{"de_prefix":"1920-07-11","de_passages":[{"locus":"GA 277b/1920-07-11/p011","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-07-11/p011"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"],"length_check":{"de_words":136,"en_words":140,"ratio":1.03,"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/1920-07-11/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. See witness_completeness for how much of the original this witness holds."}},{"passage_number":12,"locus":"GA 277b/1920-07-11/p012","text":"Today, people love an art of recitation that actually no longer has much to do with artistry, but sometimes with human sentimentality, with human goodwill to express this or that inwardly – although it always remains a phrase or sentimentality. But what real recitation is, can still be found in older times. Goethe rehearsed his Iphigenia with his actors with a baton, not so much going into the content as into the way the iambic went. This literal recitation could not be juxtaposed with eurythmy as an accompanying art, but one must also go into the eurythmic aspect of speaking itself. And so here one must recite as the good old artists of yore recited.","text_trust":"verbatim","quote_safe":true,"word_count":115,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-07-11/p012","german_anchor":{"de_prefix":"1920-07-11","de_passages":[{"locus":"GA 277b/1920-07-11/p012","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-07-11/p012"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"],"length_check":{"de_words":127,"en_words":115,"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/SOL2024/19200711e01.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/1920-07-11/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."}}],"witnesses":[{"lang":"de","edition":"original","is_original":true,"is_default_edition":true,"first_passage":1,"last_passage":19,"passage_count":19,"word_count":2078},{"lang":"en","edition":"English","is_original":false,"is_default_edition":true,"first_passage":1,"last_passage":19,"passage_count":19,"word_count":2074,"completeness":{"ratio":1.0,"band":"comparable","note":null}}],"aligned_witness":{"status":"aligned","lang":"de","edition":"original","confidence":"medium","passages":[{"locus":"GA 277b/1920-07-11/p010","passage_number":10,"text":"Dadurch sind wir in der Lage, durch die Eurythmie herauszuholen aus einem Gedicht - Gedichte werden es ja neben dem Musikalischen vorzüglich sein, die rezitatorisch die Eurythmie zu begleiten haben -, die Eurythmie drückt nur eben in stummer, in bewegter Sprache dasjenige aus, was durch die Rezitation in der Lautsprache zum Ausdrucke gebracht wird. Wir haben aber Gelegenheit, dasjenige, was den ganzen Menschen angeht, dasjenige, was nicht im Konventionellen oder in bloßem Gedankenausdruck zum Ausdrucke kommt - das Unkünstlerische an der Dichtung -, sondern wir haben Gelegenheit, das ganze Fühlen und Wollen, die ganze Persönlichkeit des Menschen wie in einem großen, bewegten Kehlkopfe zum Ausdruck zu bringen.","text_trust":"verbatim","quote_safe":true,"word_count":107,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-07-11/p010"},{"locus":"GA 277b/1920-07-11/p011","passage_number":11,"text":"Dazu ist allerdings notwendig, und das muss immer wieder erwähnt werden, dass überhaupt zu dem eigentlich künstlerischen Elemente der Dichtung wiederum zurückgekehrt werden muss. Unsere Zeit ist eine im Wesentlichen unkünstlerische, und man empfindet sehr häufig heute deshalb als das Wesentliche an der dichterischen Kunst, was wortwörtlicher Inhalt ist. Dagegen muss immer wieder und wiederum gesagt werden, dass Schiller zum Beispiel eine unbestimmte Melodie in seiner Seele lebendig hatte, und aus dieser unbestimmten Melodie konnte nun alles Mögliche noch werden, ob es «Der Taucher» wurde oder «Der Kampf mit dem Drachen» oder irgendetwas anderes - das stellte sich erst später ein. Das Wesentliche für Schiller war nicht der wortwörtliche Inhalt, [Lücke im Text] nicht also die Prosa, die in dem Gedichte ist, sondern das Wichtige war der Rhythmus, der Takt, das Musikalische, das Plastische, das Bildhafte.","text_trust":"verbatim","quote_safe":true,"word_count":136,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-07-11/p011"},{"locus":"GA 277b/1920-07-11/p012","passage_number":12,"text":"Heute liebt man eine Rezitationskunst, die eigentlich mit Künstlerischem nicht mehr viel zu tun hat, sondern manchmal mit menschlicher Sentimentalität, mit menschlichem guten Willen, das oder jenes recht innerlich auszudrücken — wobei es ja immer doch eine Phrase bleibt oder eine Sentimentalität bleibt. Dasjenige aber, was wirkliche Rezitation ist, man kann es ja noch aufsuchen in älteren Zeiten. Goethe hat mit dem Taktstock seine «Iphigenie» mit seinen Schauspielern einstudiert, nicht so schr auf den Inhalt eingehend, sondern auf die Art und Weise, wie der Jambus seinen Schritt ging. Dieses Wortwörtliche als Rezitation könnte man gar nicht als Begleitungskunst der Eurythmie gegenüberstellen, sondern da muss man auch auf das Eurythmische im Sprechen selber eingehen. Und so muss hier so rezitiert werden, wie die guten alten Künstlerzeiten rezitiert haben.","text_trust":"verbatim","quote_safe":true,"word_count":127,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-07-11/p012"}],"beads":[{"from":[10],"to":[10],"confidence":"medium","pairing_state":"verified"},{"from":[11],"to":[11],"confidence":"medium","pairing_state":"verified"},{"from":[12],"to":[12],"confidence":"medium","pairing_state":"verified"}],"note":"Paired by the paragraph aligner; each language numbers its own paragraphs. 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