{"corpus":"steiner","locus":"GA 277c/1921-05-08/p017-p019","extent":"range","passage_number":17,"through":19,"paragraph_count":3,"first_locus":"GA 277c/1921-05-08/p017","last_locus":"GA 277c/1921-05-08/p019","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"34. Eurythmy Performance","date":"1921-05-08","location":null,"alignment_confidence":"high","alignment_reason":"beads:identity","two_voice_volume":false,"translation_credit":{"scope":"unit","status":"established","translator":"Steiner Online Library","identified_edition":"SOL2025","book_title":"The Origin and Development of Eurythmy 1920–1922","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277c/English/SOL2025/19210508e01.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. 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For example, in Goethe's “Faust” there are scenes where the drama arises from the mere realistic representation of the phenomena. One need only recall the moment in Faust when the drama rises to depict something of the supersensible world that plays into the human soul. For example, if one considers the Arielle scene at the beginning of the second part of Faust, which represents something that does not take place in the real, outer, sensory world, but plays into the human soul from a spiritual reality human soul. If you want to depict that, you cannot get by with the usual realistic stage settings. But the moment you move on to what the eurythmic art gives not in terms of meaning but in terms of sound, when you introduce a special language that is not the language of ordinary contemporary life, you move beyond the very ordinary drama into the drama that can also be presented supersensibly.","text_trust":"verbatim","quote_safe":true,"word_count":206,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-05-08/p017","witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2025","book_title":"The Origin and Development of Eurythmy 1920–1922","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277c/English/SOL2025/19210508e01.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 277c/1921-05-08/p017"],"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."}},{"passage_number":18,"locus":"GA 277c/1921-05-08/p018","text":"And so you will be able to see in a scene from one of my “mystery dramas” that is being performed today that what is intended is thoroughly supersensible, but intended dramatically and not symbolically, as can be represented by the art of eurythmy alone. In this case, it is about the development of a human being, about the kind of development that does not, I would say, proceed in the usual way in which human life develops in everyday life, but rather one that brings about real transformations in the human being, where he really becomes a different person inwardly, in his soul, where he experiences something in his soul that can be compared to the great transitional points in outer growth. If you want to depict something like this, which is absolutely real but does not take place before the outer senses – as here, where John is standing before us, undergoing an inner soul development – then you have to do so pictorially, not symbolically, but pictorially, to make accessible to the sensual and supersensible gaze what is passing through the human soul.","text_trust":"verbatim","quote_safe":true,"word_count":186,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-05-08/p018","witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2025","book_title":"The Origin and Development of Eurythmy 1920–1922","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277c/English/SOL2025/19210508e01.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 277c/1921-05-08/p018"],"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."}},{"passage_number":19,"locus":"GA 277c/1921-05-08/p019","text":"And this is precisely what is to be shown in this scene, as we present it: that what takes place in the human being, but takes place in him in such a way that he has a purely spiritual world around him – as otherwise through the eye and ear a sensual world – that this is represented through the outer form by the three soul forces, as it is expressed through Mary, the ruler of these three soul forces . However, this cannot be realistically portrayed on stage if one wants to reveal it in a meaningful way. Instead, one must resort to eurythmy.","text_trust":"verbatim","quote_safe":true,"word_count":105,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-05-08/p019","witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2025","book_title":"The Origin and Development of Eurythmy 1920–1922","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277c/English/SOL2025/19210508e01.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). 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Es gibt zum Beispiel in Goethes «Faust» Szenen, wo aus dem bloßen realistischen Darstellen der Erscheinungen das Drama sich erhebt. Man braucht nur an den «Faust» sich zu erinnern, wo das Drama sich erhebt zur Darstellung desjenigen, was in der Menschenseele als Übersinnliches hereinspielt, wenn man so eine Arielszene zum Beispiel - im Beginne des zweiten Teiles des «Faust» - ins Auge fasst, die durchaus dasjenige darstellt, was nicht real in der äußeren sinnlichen Wirklichkeit sich abspielt, sondern aus einer geistigen Realität hereinspielt in die menschliche Seele. Wenn man das darstellen will, kommt man mit dem gewöhnlichen Realistisch-Bühnenmäßigen nicht zurecht. Aber in dem Augenblick, wo man übergeht zu demjenigen, was die eurythmische Kunst jetzt nicht an Sinngebärde, sondern an Lautgebärde gibt, wenn man also eine besondere Sprache, die nicht die Sprache des gewöhnlichen heutigen Lebens ist, einführt, kommt man dazu, hinauszugehen über das ganz gewöhnliche Drama in das Drama, welches man übersinnlich auch darstellen kann.","text_trust":"verbatim","quote_safe":true,"word_count":196,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-05-08/p017"},{"locus":"GA 277c/1921-05-08/p018","passage_number":18,"text":"Und so werden Sie in einer Szene aus einem meiner «Mysteriendramen» sehen können, dass heute zur Darstellung kommt dasjenige, was durchaus übersinnlich gedacht ist, aber dramatisch und nicht symbolisch gedacht ist, wie das durch eurythmische Kunst allein dargestellt werden kann. Es handelt sich ja in diesem Falle um die Entwicklung eines Menschen, um jene Entwicklung, die nicht, ich möchte sagen so gewöhnlich fortgeht, wie im Alltagsleben das menschliche Leben sich entwickelt, sondern die hineinbringt in den Menschen reale Umgestaltungen, wo er innerlich-seelisch wirklich ein anderer wird, wo er in der Seele etwas erlebt, das sich vergleichen lässt mit den großen Übergangspunkten (?) im äußeren Wachstum. Will man so etwas darstellen, was durchaus real ist, was aber sich nicht abspielt vor den äußeren Sinnen — wie hier, wo Johannes vor uns steht, der eine innerliche Seelenentwicklung durchmacht -, dann muss man dazu bildhaft, nicht symbolisch, aber bildhaft dasjenige bringen, dem sinnlich-übersinnlichen Blicke zugänglich machen, was da des Menschen Seele durchzieht.","text_trust":"verbatim","quote_safe":true,"word_count":159,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-05-08/p018"},{"locus":"GA 277c/1921-05-08/p019","passage_number":19,"text":"Und solches soll eben gezeigt werden in dieser Szene, wie wir sie zur Darstellung bringen, dass dasjenige, was im Menschen sich abspielt, aber durchaus in ihm sich so abspielt, dass er rein eine geistige Welt - wie sonst durch Auge und Ohr eine sinnliche Welt - um sich hat, dass das durch äußere Gestaltung dargestellt wird durch die drei Seelenkräfte, wie es durch Maria, die Lenkerin dieser drei Seelenkräfte, zum Ausdrucke kommt. Das würde man aber nicht realistisch-bühnenmäßig darstellen können, wenn man es sinngemäß offenbaren will, sondern man muss zum Eurythmischen greifen.","text_trust":"verbatim","quote_safe":true,"word_count":92,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-05-08/p019"}],"beads":[{"from":[17],"to":[17],"confidence":"high"},{"from":[18],"to":[18],"confidence":"high"},{"from":[19],"to":[19],"confidence":"high"}],"note":"Paired by the paragraph aligner; each language numbers its own paragraphs. A bead at either end of the span can carry text beyond it (the `from` numbers show what each bead covers)."}}