{"corpus":"steiner","locus":"GA 277b/1920-08-15/p009","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"Now we will attempt to extend what Goethe first observed for the purpose of design to human activity. We will carefully study the artistic movements of the larynx and its neighboring organs when speech is produced. It is not the fine vibrations that are transmitted from the human organ to the air and then travel to the hearing organ of the listener that are important, but rather the underlying movement tendencies, on which these vibrations are then, so to speak, threaded. I would like to say that when we look at a long plant stem, such as the false acacia, which forms a long stem to which individual leaflets are attached, we could follow basic tendencies that already make themselves felt in the larynx and its neighboring organs, basic tendencies for the vibrations of speech. These basic tendencies are recognized, if I may use Goethe's word, through sensory-supersensory observation. And just as Goethe imagines the entire plant to be nothing more than a single leaf in a more complicated form, we let the whole person carry out in movement what is otherwise carried out in the region of the larynx and its neighboring organs. So we actually transform phonetic speech, in which the inner movement tendencies are not subject to attention because they are only devoted to the sound, we transform phonetic speech into a visible language: the whole human being – or groups of people too – stand in front of you on the stage and perform the movements that are otherwise performed invisibly when phonetic speech is produced. That which underlies speech as a sub-sensation, I would say, is brought out and imprinted as movement on the human form or on groups of people.","text_trust":"verbatim","quote_safe":true,"title":"75. Eurythmy Performance","site_heading":null,"date":"1920-08-15","location":null,"word_count":286,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-08-15/p009","alignment_confidence":"high","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/SOL2024/19200815e01.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/1920-08-15/p009"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-08-15/p009","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},"paired_german":{"status":"paired","german":[{"locus":"GA 277b/1920-08-15/p009","passage_number":9,"text":"Nun versuchen wir hier dasjenige, was Goethe zunächst für die Gestaltung geschaut hat, auszudehnen auf das menschliche Betätigen. Sorgfältig wird studiert, welche künstlerischen Bewegungen der Kehlkopf - und seine Nachbarorgane - ausführt, wenn die Lautsprache zustande kommt. Nicht jene feinen Vibrationen, die sich von dem Organ des Menschen übertragen auf die Luft und dann fortschreiten bis zum Gehörorgan des Hörenden, nicht auf diese kommt es an, sondern auf dasjenige, was als Bewegungstendenzen zugrunde liegt, auf die dann gewissermaßen aufgefädelt sind diese Vibrationen. Ich möchte sagen, wenn wir uns einen langen Pflanzenstiel anschauen, wie etwa bei der unechten Akazie, sie bildet einen langen Stiel, dem einzelne Blättchen aufgeheftet sind. So könnten wir verfolgen Grundtendenzen, die sich schon im Kehlkopf und seinen Nachbarorganen geltend machen, Grundtendenzen für die Schwingungen der Sprache. Diese Grundtendenzen, sie werden, wenn ich das Goethe’sche Wort gebrauchen darf, durch sinnlich-übersinnliches Schauen erkannt. Und so, wie sich Goethe vorstellt, dass die gesamte Pflanze nichts anderes ist als ein komplizierter ausgestaltetes einzelnes Blatt, so lassen wir den ganzen Menschen in seinen Bewegungen dasjenige ausführen, was sonst in der Region des Kehlkopfes und seiner Nachbarorgane ausgeführt wird. Also verwandeln wir tatsächlich die Lautsprache, bei der die inneren Bewegungstendenzen nicht der Aufmerksamkeit unterliegen, weil das nur dem Laute hingegeben ist, wir verwandeln die Lautsprache in eine sichtbare Sprache: Der ganze Mensch - oder Menschengruppen auch - stehen vor Ihnen auf der Bühne und führen diejenigen Bewegungen aus, die sonst unsichtbar ausgeführt werden, wenn die Lautsprache zustande kommt. Dasjenige, was der Lautsprache, ich möchte sagen als ein Untersinnliches zugrunde liegt, das wird herausgeholt und der menschlichen Gestalt als Bewegung aufgeprägt oder auch Menschengruppen als Bewegung aufgeprägt.","text_trust":"verbatim","quote_safe":true,"word_count":273,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-08-15/p009"}],"english":["GA 277b/1920-08-15/p009"],"method":"identity","confidence":"high","correspondence":"established","length_check":{"de_words":273,"en_words":286,"ratio":1.05,"partial":false},"pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"]},"witness_completeness":{"ratio":1.02,"band":"comparable","note":null,"word_count":2443,"original_word_count":2396,"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/SOL2024/19200815e01.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/1920-08-15/p009"],"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. 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