{"corpus":"steiner","locus":"GA 277b/1920-08-15/p010","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"This creates an opportunity to point out something that is currently being felt very vividly by creative artists – at least, one would like to point this out from one corner – namely, that a large proportion of artists today are yearning for new means of expression, new forms of expression. Impressionists, expressionists or whatever these artists call themselves, is how the various paths taken in their art are called. On the one hand, we see how the immediate impression is to be captured, how the impression is to be reproduced. Because people today have actually lost the power to delve into the inner essence of things, as the great artists of earlier epochs were able to do, have lost the ability to create entirely from within, so to speak, what remains is captured in the impression. Or, what is captured through wrong words and so on, which then seems difficult for more philosophical natures to understand, is captured in expressionism. But these are all paths that actually lead to answering the old question of art in a new way: how do you capture impressions artistically without thoughts playing a role in the process? Abstract thoughts are always the ones that kill actual art. Art must proceed without abstract thoughts. Now, here we have the opportunity. In ordinary speech, we do not have the same opportunity, because today the need to communicate has already descended too far into the conventional, into usefulness. And the artist, for example, must try to achieve through what lies beneath language - also a eurythmic element, by the way - that which can satisfy him.","text_trust":"verbatim","quote_safe":true,"title":"75. Eurythmy Performance","site_heading":null,"date":"1920-08-15","location":null,"word_count":270,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-08-15/p010","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/p010"},{"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/p010","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/p010","passage_number":10,"text":"Damit ist eine Möglichkeit geschaffen, zugleich manches, was jetzt gerade von schaffenden Künstlern sehr lebendig empfunden wird wenigstens möchte man aus einer Ecke heraus darauf hinweisen, wie ja heute ein großer Teil der künstlerisch Schaffenden nach neuen Ausdrucksmitteln, neuen Ausdrucksformen lechzt, Impressionisten, Expressionisten oder wie diese sich sonst heißen, man nennt danach die verschiedenen Wege, die in ihrer Kunst eingeschlagen werden. Da sehen wir auf der einen Seite, wie der unmittelbare Eindruck festgehalten werden soll, die Impression wiedergegeben werden soll. Weil der Mensch heute ja eigentlich die Kraft verloren hat, unterzutauchen in das innere Wesen der Dinge, wie es die großen Künstler früherer Epochen gekonnt haben, das Vermögen also, ganz aus dem Inneren heraus zu schaffen, verloren haben, so wird gleichsam dasjenige, was übrigbleibt, in der Impression festgehalten. Oder auch, es wird dasjenige, was /Lücke im Text] durch falsche Worte und so weiter, festgehalten, was dann namentlich mehr philosophischen Naturen schwer verständlich erscheint, im Expressionismus. Aber es sind das alles Wege, welche eigentlich darauf hinauslaufen, in einer neuen Form die alte Kunstfrage zu beantworten: Wie gelangt man dazu, Eindrücke künstlerisch festzuhalten, ohne dass dabei Gedanken eine Rolle spielen? Abstrakte Gedanken sind es ja immer, welche die eigentliche Kunst töten. Die Kunst muss ohne die abstrakten Gedanken verlaufen. Nun, hier haben wir die Möglichkeit. In der gewöhnlichen Lautsprache haben wir nicht so dieselbe Möglichkeit, denn da ist heute schon ins Konventionelle hinein, in die Nützlichkeit hinein das Mitteilungsbedürfnis zu sehr herabgestiegen. Und der Künstler muss ja zum Beispiel versuchen, durch das unter der Sprache Liegende —auch ein eurythmisches Element übrigens -, dasjenige zu erreichen, was ihn befriedigen kann.","text_trust":"verbatim","quote_safe":true,"word_count":267,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-08-15/p010"}],"english":["GA 277b/1920-08-15/p010"],"method":"identity","confidence":"high","correspondence":"established","length_check":{"de_words":267,"en_words":270,"ratio":1.01,"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/p010"],"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."}}