{"corpus":"steiner","locus":"GA 277c/1921-10-16/p016","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"And what comes into consideration above all is that, as soon as one moves into the dramatic, those scenes which deal with, let us say, some scenes in Goethe's second part of Faust, which in turn overcome scenic relationships, which are thus conceived in a naturalistic way, that one simply has to arrive at a certain style, that one cannot simply represent through naturalistic gestures that which is given by the poet. It is precisely where the supernatural is inserted into the course of the scene that you can see how eurythmy offers something that allows you to get away from that from which the poet also wants to get away in such cases: from that which can be exhausted merely in naturalistic renditions.","text_trust":"verbatim","quote_safe":true,"title":"52. Eurythmy Performance","site_heading":null,"date":"1921-10-16","location":null,"word_count":124,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-10-16/p016","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/SOL2025/19211016e01.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/277c/1921-10-16/p016"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-10-16/p016","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 277c/1921-10-16/p016","passage_number":16,"text":"Und was vor allen Dingen in Betracht kommt, das ist, sobald man ins Dramatische übergeht, diejenigen Szenen, welche behandeln, sagen wir etwa wie manche Szenen in Goethes zweitem Teil des «Faust», die wiederum szenischen Verhältnisse zu überwinden, die also naturalistisch gedacht sind, dass man einfach notwendig hat, zu einem gewissen Stil zu kommen, dass man da nicht einfach durch naturalistische Gesten dasjenige darstellen kann, was vom Dichter gegeben wird. Da gerade, wo Übersinnliches in den Szenengang sich einfügt, da sieht man, wie man an der Eurythmie etwas hat, wo man loskommen kann von demjenigen, von dem in solchen Fällen ja auch der Dichter loskommen will: von demjenigen, was sich bloß in naturalistischen Wiedergaben erschöpfen kann.","text_trust":"verbatim","quote_safe":true,"word_count":115,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-10-16/p016"}],"english":["GA 277c/1921-10-16/p016"],"method":"identity","confidence":"high","correspondence":"established","length_check":{"de_words":115,"en_words":124,"ratio":1.08,"partial":false},"pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"]},"witness_completeness":{"ratio":1.07,"band":"comparable","note":null,"word_count":2261,"original_word_count":2110,"may_be_abridged":false},"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/SOL2025/19211016e01.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/1921-10-16/p016"],"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."}}