{"corpus":"steiner","locus":"GA 277c/1921-08-14/p008-p016","extent":"range","passage_number":8,"through":16,"paragraph_count":9,"first_locus":"GA 277c/1921-08-14/p008","last_locus":"GA 277c/1921-08-14/p016","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"45. Eurythmy Performance","date":"1921-08-14","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/SOL2025/19210814e01.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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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":0.99,"band":"comparable","note":null,"word_count":2535,"original_word_count":2561,"may_be_abridged":false},"site_heading":null,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-08-14/p008-p016","json_url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-08-14/p008-p016.json","lecture_url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-08-14#p008","word_count":867,"quote_safe":true,"passages":[{"passage_number":8,"locus":"GA 277c/1921-08-14/p008","text":"What the human being experiences in his soul and what is expressed in the most diverse ways through his bodily organization, viewed from a certain point of view, moves entirely between two poles: between the speech or sound language, which passes into the no longer artistic, prosaic speech, and between what the human being attempts to develop out of, I would like to say, equilibrium positions and forms of his organism .","text_trust":"verbatim","quote_safe":true,"word_count":72,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-08-14/p008","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/SOL2025/19210814e01.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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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/1921-08-14/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. See witness_completeness for how much of the original this witness holds."}},{"passage_number":10,"locus":"GA 277c/1921-08-14/p010","text":"That which man forms out of his soul experiences, whether in music or in speech, could be described, if one feels its essence, as that which man, after having developed it within himself separately from the outside world, in a sense imposes on this outside world. This imposition of the human being's own nature on the outside world is most evident in prose speech. Aesthetically sensed, one might say that the imposition of one's own human being on the outside world actually lies in this prose speech. And in doing so, man proceeds in such a way that he transforms more and more what he develops within himself as soul experiences into the expression of thought, which then either becomes the expression in words for the inner, spiritual experience or for the conventionally communicable.","text_trust":"verbatim","quote_safe":true,"word_count":134,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-08-14/p010","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/SOL2025/19210814e01.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/1921-08-14/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."}},{"passage_number":11,"locus":"GA 277c/1921-08-14/p011","text":"In both, in the conventionally communicable, to which particularly the languages of culture must develop, and in that which is expressed in inner soul experiences, the aesthetic conscience is lost, one would like to say, and logical reflection takes its place. To the same extent that logical reflection encroaches on oral expression, to the same extent the aesthetic conscience is lost, what is actually artistic is lost. On the other hand, in the mimetic arts, man must behave in such a way that he either uses his organism in such a way that he shapes this organism; then he is dependent on the natural laws that govern the organism. Or he sets himself in motion in space, so that pantomime becomes dance-like.","text_trust":"verbatim","quote_safe":true,"word_count":122,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-08-14/p011","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/SOL2025/19210814e01.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/1921-08-14/p011"],"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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He integrates himself into the outside world.","text_trust":"verbatim","quote_safe":true,"word_count":38,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-08-14/p012","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/SOL2025/19210814e01.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/1921-08-14/p012"],"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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While this is not the case with speech, with the tonal, on the one hand, the human being integrates himself, selflessly surrendering to the laws of nature when he meaningfully sets his own organism in motion.","text_trust":"verbatim","quote_safe":true,"word_count":78,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-08-14/p013","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/SOL2025/19210814e01.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/1921-08-14/p013"],"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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And something occurs that ultimately, when pantomime is worked out more and more to one side [to a certain perfection], makes it appear as if the person is being pulled by wires, thus being incorporated into an inhuman or extra-human system.","text_trust":"verbatim","quote_safe":true,"word_count":75,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-08-14/p014","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/SOL2025/19210814e01.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/1921-08-14/p014"],"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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And this can become as lawful as in language and singing, an inner lawfulness can be carried out by the outer movement of a person or a group of people. So that one does not have an arbitrary pantomime, not a coincidence of one form with another, but one has a real, coherent linguistic expression of what is going on in the human soul.","text_trust":"verbatim","quote_safe":true,"word_count":205,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-08-14/p015","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/SOL2025/19210814e01.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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See witness_completeness for how much of the original this witness holds."}},{"passage_number":16,"locus":"GA 277c/1921-08-14/p016","text":"When a language that is actually visible is formed in this way, it can become the expression of what, on the one hand, a person experiences musically as that which he transmits from himself, from his own being, to the outside world, and what he experiences on the linguistic side. This can be transferred into movements through which the human being, as it were, integrates himself into the outer world, integrating himself into the pictoriality of this outer world. Therefore, those things that have arisen in poetry as truly artistic, which are also contained in the musical-tonal, but are accessible to pictoriality, come to the fore particularly through this moving plastic art, eurythmy.","text_trust":"verbatim","quote_safe":true,"word_count":113,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-08-14/p016","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/SOL2025/19210814e01.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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Dieses Aufdrängen des eigenen Wesens des Menschen gegenüber der Außenwelt, das tritt ja am meisten hervor eben in der prosagesprochenen Rede. In dieser prosagesprochenen Rede liegt eigentlich, ästhetisch empfunden, man möchte sagen, die Aufdrängung des eigenen menschlichen Wesens an die Außenwelt. Und dabei verfährt der Mensch so, dass er dasjenige, was er in sich ausbildet als Seelenerlebnisse, immer mehr und mehr umformt in dem Gedankenausdruck, der dann wird entweder der Ausdruck im Wort für das innere, geistig Erlebte oder für das konventionell Mitzuteilende.","text_trust":"verbatim","quote_safe":true,"word_count":132,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-08-14/p010"},{"locus":"GA 277c/1921-08-14/p011","passage_number":11,"text":"In beidem, sowohl in dem konventionell Mitzuteilenden, zu dem sich besonders die Kultursprachen hin entwickeln müssen, wie auch in demjenigen, was sich in inneren Seelenerlebnissen zum Ausdruck bringt geistig, verliert sich das ästhetische Gewissen, möchte man sagen und die logische Besonnenheit tritt da ein. In demselben Maße, in dem die logische Besonnenheit in den mündlichen Ausdruck eingreift, in demselben Maße verliert sich das ästhetische Gewissen, verliert sich dasjenige, was das eigentlich Künstlerische ist. Nach der anderen Seite hin, nach dem Mimischen, muss sich ja der Mensch so verhalten, dass er sich entweder seines Organismus so bedient, dass er diesen Organismus formt; dann ist er von den den Organismus beherrschenden Naturgesetzen abhängig. Oder aber er bringt sich selbst im Raume in Bewegung, sodass die Pantomime dann tanzartig wird.","text_trust":"verbatim","quote_safe":true,"word_count":127,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-08-14/p011"},{"locus":"GA 277c/1921-08-14/p012","passage_number":12,"text":"In dieser Bewegung, die das Seelische in sich begreift, in dieser Bewegung geschieht das Entgegengesetzte mit dem Menschen. Er übergibt sich gewissermaßen der Natur. Er übergibt sich der Außenwelt. Er gliedert sich der Außenwelt ein.","text_trust":"verbatim","quote_safe":true,"word_count":35,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-08-14/p012"},{"locus":"GA 277c/1921-08-14/p013","passage_number":13,"text":"Während also der Mensch sich aufdrängt in der Tonsprache und auch im Musikalischen - [formt er ja in der Eurythmie] dasjenige, was er selber in sich erlebt, in Luft wieder um; er übergibt also dasjenige, was also sein inneres Erleben ist, der äußeren Objektivität. Während das also nach der einen Seite hin bei der Sprache, bei dem Tonlichen überhaupt [nicht] der Fall ist, gliedert sich der Mensch ein, gibt sich selbstlos hin an die Naturgesetze, wenn er sinnvoll seinen eigenen Organismus in Bewegung bringt.","text_trust":"verbatim","quote_safe":true,"word_count":84,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-08-14/p013"},{"locus":"GA 277c/1921-08-14/p014","passage_number":14,"text":"So, wie aber der Mensch an das Geistige sich verliert in dem Sprechen oder auch in dem Singen, so verliert er sich in das Natürliche, wenn er in die Pantomime, in den Tanz übergeht. Auch da hört das ästhetische Gewissen auf. Und es tritt etwas ein, was zuletzt, wenn Pantomimisches gerade immer mehr und mehr nach der einen Seite zu [etwas] zu einer gewissen Vollkommenheit ausgearbeitet an dem Menschen erscheinen lässt, wie wenn er von Drähten gezogen würde, also eingegliedert würde in ein unmenschliches oder außermenschliches System.","text_trust":"verbatim","quote_safe":true,"word_count":87,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-08-14/p014"},{"locus":"GA 277c/1921-08-14/p015","passage_number":15,"text":"Wenn er in Tanz übergeht, so gerät er ja hart an die Ekstase, also wiederum an ein Unkünstlerisches heran. Zwischen diesen beiden Extremen, nicht nach der einen oder anderen Seite hinwegschreitend, will nun Eurythmie stehen als eine sichtbare Sprache. Sie ist dadurch entstanden, dass studiert wird sorgfältig, in welchen Bewegungstendenzen der Mensch lebt, die dann gleichsam im Kehlkopf und den anderen Sprachorganen gleichsam in der Entstehung aufgegriffen werden, um in Luftbewegungen umgesetzt zu werden. Das wird studiert. Und wie Goethe sieht in der ganzen Pflanze etwas, was in komplizierter Art alle Geheimnisse des grünen Blattes enthält, so kann man übertragen auf die seelische Bewegung der Arme und Hände dasjenige, was sonst der Sprache als Bewegungstendenzen zugrunde liegt, auch dem Gesang, was aber dann nur gelten wird, wenn der Mensch spricht oder singt. Und das kann so gesetzmäßig wie in der Sprache und dem Gesang [werden], eine innere Gesetzmäßigkeit werden durch die äußere Bewegung des Menschen oder von einer Gruppe von Menschen ausgeführt werden. Sodass man nicht eine willkürliche Pantomime hat, nicht einen Zufall von Gebilden mit einem anderen, sondern dass man hat einen wirklichen, zusammenstimmenden sprachlichen Ausdruck desjenigen, was in der menschlichen Seele vorgeht.","text_trust":"verbatim","quote_safe":true,"word_count":194,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-08-14/p015"},{"locus":"GA 277c/1921-08-14/p016","passage_number":16,"text":"Wird so eine tatsächlich sichtbare Sprache geformt, so kann dieses gerade der Ausdruck desjenigen werden, was auf der einen Seite der Mensch musikalisch erlebt als dasjenige, das er der Außenwelt übergibt von sich, von seinem eigenen Wesen, wie auch dasjenige, was er sprachlicherseits erlebt. Es kann das übergeführt werden in Bewegungen, durch die der Mensch gewissermaßen sich eingliedert in die Außenwelt, in die Bildhaftigkeit dieser Außenwelt sich eingliedert. Daher kommen diejenigen Dinge, die in der Dichtung als wirklich Künstlerisches entstanden sind, die auch im Musikalisch-Tonlichen enthalten sind, aber einer Bildhaftigkeit zugänglich sind, die kommen durch diese bewegte plastische Kunst, die Eurythmie, besonders zum Vorschein.","text_trust":"verbatim","quote_safe":true,"word_count":104,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-08-14/p016"}],"beads":[{"from":[8],"to":[8],"confidence":"high"},{"from":[9],"to":[9],"confidence":"high"},{"from":[10],"to":[10],"confidence":"high"},{"from":[11],"to":[11],"confidence":"high"},{"from":[12],"to":[12],"confidence":"high"},{"from":[13],"to":[13],"confidence":"high"},{"from":[14],"to":[14],"confidence":"high"},{"from":[15],"to":[15],"confidence":"high"},{"from":[16],"to":[16],"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)."}}