{"corpus":"steiner","locus":"GA 277c/1922-08-04/p020-p031","extent":"range","passage_number":20,"through":31,"paragraph_count":12,"first_locus":"GA 277c/1922-08-04/p020","last_locus":"GA 277c/1922-08-04/p031","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"Eurythmy Address","date":"1922-08-04","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/SOL2025/19220804e01.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"]},"record":{"record_type":"unknown","scope":"volume","note":"How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. 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Imagine that this is a feeling. He moves his arm in this way and has the feeling that something very light is resting on him, touching and pressing him, or that something is pulling him. If we were to represent this in an expressionist form, we could do so by creating a veil here. Then the viewer sees, if the eurythmist is really skilled at designing the veil so that you can see through it, the veil is designed and placed in such a way that the eurythmist feels a slight pressure here and a slight pull there, then the viewer also sees what the eurythmist feels. And you can pour all the feelings of the eurythmic movement into the form of the veil.","text_trust":"verbatim","quote_safe":true,"word_count":189,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-04/p020","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/SOL2025/19220804e01.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/1922-08-04/p020"],"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":21,"locus":"GA 277c/1922-08-04/p021","text":"Of course, this is a very ideal thing that cannot be achieved right away, but it is something that must be strived for, at least little by little. It was therefore quite right to add the veil to our eurythmic performance at first, because the veil is essentially a means of support for the audience to actually see externally in moving plastic what the fluctuating feeling is in the eurythmist.","text_trust":"verbatim","quote_safe":true,"word_count":70,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-04/p021","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/SOL2025/19220804e01.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/1922-08-04/p021"],"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":22,"locus":"GA 277c/1922-08-04/p022","text":"And again, when movement and feeling interact in the way I have described, we already have part of the soul. For instead of thought, we have movement, and we have feeling directly. Of course, it will be a great help to the audience if the veil has a certain color in relation to the robe, because the movement will essentially be expressed in the robe, while the feeling will be visible in the veil.","text_trust":"verbatim","quote_safe":true,"word_count":74,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-04/p022","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/SOL2025/19220804e01.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/1922-08-04/p022"],"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":23,"locus":"GA 277c/1922-08-04/p023","text":"In this way, the harmony between movement and feeling can also be brought to light in beautiful expressionistic forms. And one can then say that if, for example, one gives the robe a color corresponding to the e-sound, then, in accordance with the e-sound, if the robe has a certain color, the veil must have a corresponding different color, so that both colors are in the same relationship as movement and feeling.","text_trust":"verbatim","quote_safe":true,"word_count":72,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-04/p023","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/SOL2025/19220804e01.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/1922-08-04/p023"],"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":24,"locus":"GA 277c/1922-08-04/p024","text":"However, this cannot be used in this way in eurythmic performance at first, because of course you cannot change the robe and veil for every sound. But as I said earlier, if we really penetrate things artistically, we can speak of certain moods, say, with the E, say with the #, and then transfer that not only to lines and stanzas, but to an entire poem. And if we have a feeling for it: this poem is tuned to I, that poem is tuned to E, or let's say, if we have the feeling: In this poem we get a real mood that corresponds to the poem, if we do it with two eurythmic performers in such a way that we characterize an e mood through one of them with the robe and veil, and an i mood through the other, then the mood of the poem can come to the fore through the interaction of these two moods in combination.","text_trust":"verbatim","quote_safe":true,"word_count":161,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-04/p024","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/SOL2025/19220804e01.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/1922-08-04/p024"],"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":25,"locus":"GA 277c/1922-08-04/p025","text":"Such attempts have already been made in the coordination of veils and robes for entire poems, because such things must be taken as a starting point. One cannot say that things can be based on a nebulous fantasy; rather, they must be experienced artistically from within and studied artistically, only then can they be translated into such a reality that the viewer, even if he knows nothing about all this, still has the corresponding impression in a completely naive way.","text_trust":"verbatim","quote_safe":true,"word_count":80,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-04/p025","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/SOL2025/19220804e01.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/1922-08-04/p025"],"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":26,"locus":"GA 277c/1922-08-04/p026","text":"Now, when it comes to the presentation of eurythmy, a third element comes into play, and that is the element of will, the character. If you think of any sound and think that it should be presented in eurythmy, you will say to yourself: First of all, in movement, something like the general speech formation in recitation is presented. The way in which language is shaped pictorially or musically is expressed in the movement of eurythmy. The feeling that the reciter also puts into his recitation, the feeling that is expressed quite visibly, in that what the eurythmist himself must feel in his imagination — something presses, something pulls — causes him to behave quite differently in movement. This becomes quite involuntary, instinctively different in movement, as he feels in this way or in another way. This really enlivens and animates the whole thing. And it is good if the eurythmist not only masters the very external movement, but also has this feeling: when he makes an e, he has very specific quiet sensations here or there, when he surrenders himself to this quiet sensation in his imagination. But because he makes the movement, he will animate the movement in a completely different way than if he only makes the movement mechanically.","text_trust":"verbatim","quote_safe":true,"word_count":212,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-04/p026","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/SOL2025/19220804e01.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/1922-08-04/p026"],"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":27,"locus":"GA 277c/1922-08-04/p027","text":"But the reciter also brings an element of will into the recitation. He speaks, let's say, softly; he intensifies, he speaks some things very loudly. That is the element of will that is brought in. And this element of will, which I would like to call the character in the artistic, this element of will, you can also bring into the eurythmic performance. Suppose you have to hold your arm in a certain way for some sound's sake – and there you have your hand. Now you will quite involuntarily and instinctively do something different artistically if you hold your hand completely limp, leaving it to its own weight, or if you stretch it out. And you will bring character into your recitation and declamation in much the same way as the reciter does, through stronger, more powerful language or less powerful language. For example, you will give a completely different character to what you are expressing with your arm if, as a eurythmic performer, you not only give yourself over to your imagination, but also bring this imagination to fruition within yourself. Let's say you tense your forehead when performing a certain letter or passage. Or you feel that you are giving strength to the muscles of your upper arm during a certain movement. Or you feel that you are consciously placing your feet on the ground during a certain movement by pressing down on the floor. This is the third element, the character that can come into eurythmy.","text_trust":"verbatim","quote_safe":true,"word_count":250,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-04/p027","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/SOL2025/19220804e01.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/1922-08-04/p027"],"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":28,"locus":"GA 277c/1922-08-04/p028","text":"![277c-41](images/277c-41.webp)","text_trust":"verbatim","quote_safe":true,"word_count":0,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-04/p028","figures":[{"file":"277c-41.webp","alt":"277c-41","url":"https://anthroposophy.ai/ga/277c/images/English/277c-41.webp","in_source_tree":true}],"kind":"figure","advice":"This passage is a picture reference, not prose: the edition prints a drawing or diagram here and the text is the marker that stands for it. Do not quote it as Steiner's words; the picture itself is at figures[].url.","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/SOL2025/19220804e01.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":"not_checkable","note":"This passage or its German counterpart is too short to compare (a heading or a fragment)."},"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":29,"locus":"GA 277c/1922-08-04/p029","text":"So we have the opportunity to truly express the whole soul in eurythmy. Now, my dear friends, it is remarkable that when one really carries out this idea that I have just expressed, one comes to the conclusion that simply by expressing eurythmy in a certain way, one can create the beginnings of what is sought today as a special art form, the expressionism of art. For eurythmy is, in a certain sense, truly expressionistic. It simply does not use the often silly means employed by so-called expressionism; it uses the artistic means with which one can truly create forms of expression, expressions artistically in the movement of the human body, in the feelings poured into the limbs and in the character poured into the limbs, as I have just described.","text_trust":"verbatim","quote_safe":true,"word_count":131,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-04/p029","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/SOL2025/19220804e01.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/1922-08-04/p029"],"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":30,"locus":"GA 277c/1922-08-04/p030","text":"And now, in a few depictions, which are admittedly still in their infancy, an attempt has been made to shape precisely what I have just described, to shape it in such a way that, at least initially, the sounds have been treated according to these principles, treated in such a way that each sound is done justice in a certain expressive manner, by truly representing the movement in one color, the feeling that is veiled within it in a second color – of which, of course, only the color can be seen in the representation – and the character in a third color. So that you can represent every sound eurythmically through color according to movement, feeling, and character.","text_trust":"verbatim","quote_safe":true,"word_count":119,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-04/p030","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/SOL2025/19220804e01.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/1922-08-04/p030"],"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":31,"locus":"GA 277c/1922-08-04/p031","text":"This may achieve two things. First, it can be seen to what extent eurythmy achieves artistic results with its means. For everything that is to be achieved artistically through eurythmy, everything that is simply to happen on stage and be used, is this: movement, feeling, character, in the form I have described. Just as the sculptor with his use of surfaces, the reciter with his use of sound, and the musician with his use of tone, the eurythmist must achieve everything that is to be achieved with movement, feeling, and character. Nothing else should be considered. This is the realm of the means of eurythmic art. Everything must be achieved with these means.","text_trust":"verbatim","quote_safe":true,"word_count":113,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-04/p031","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/SOL2025/19220804e01.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/1922-08-04/p031"],"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."}}],"witnesses":[{"lang":"de","edition":"original","is_original":true,"is_default_edition":true,"first_passage":1,"last_passage":36,"passage_count":36,"word_count":3780},{"lang":"en","edition":"English","is_original":false,"is_default_edition":true,"first_passage":1,"last_passage":36,"passage_count":36,"word_count":3776,"completeness":{"ratio":1.0,"band":"comparable","note":null}}],"aligned_witness":{"status":"aligned","lang":"de","edition":"original","confidence":"high","passages":[{"locus":"GA 277c/1922-08-04/p020","passage_number":20,"text":"Nun aber wird diese Bewegung erst seelenvoll wirken, wenn der Eurythmisierende außerdem das Gefühl hat, dass er mit seiner Bewegung diese Bewegung selber so empfindet, als ob er etwa hier oben eine fühlbare Luft hätte, die sich anders anfühlt als die allgemeine Luft, wenn er hier eine fühlbare Luft hätte oder wenn er auch meinetwillen etwas hier um den Arm geschlungen hätte, das er tragen muss. Denken Sie sich, das ist Gefühl. Er bewegt den Arm so und hat das Gefühl: Da ruht etwas ganz leicht ihn Berührendes und Drückendes oder es zieht auch etwas. Wenn wir uns das darstellen in einer expressionistischen Form etwa, so können wir das so darstellen - sagen wir, dass wir hier einen Schleier gestalten. Dann sieht der Zuschauer, wenn der Eurythmisierende nun wirklich geschickt den Schleier so gestaltet, dass man im Schleier sieht, der Schleier ist so gestaltet, so gelegt, dass der Eurythmisierende hier einen leisen Druck und hier einen leisen Zug verspürt, dann sieht der Zuschauer noch dazu an, was der Eurythmisierende fühlt. Und man kann alles Fühlen beim eurythmisierenden Bewegen in die Form des Schleiers gießen.","text_trust":"verbatim","quote_safe":true,"word_count":184,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-04/p020"},{"locus":"GA 277c/1922-08-04/p021","passage_number":21,"text":"Das ist natürlich schon eine sehr ideale Sache, die von vornherein nicht gleich erreicht werden kann, aber die mindestens nach und nach angestrebt werden muss. Es war daher durchaus richtig, unserer eurythmischen Darstellung zunächst den Schleier hinzuzufügen, Denn der Schleier ist im Wesentlichen ein Unterstützungsmittel für den Zuschauer, um das auch wirklich äußerlich in bewegter Plastik zu sehen, was das fluktuierende Fühlen beim Eurythmisierenden ist.","text_trust":"verbatim","quote_safe":true,"word_count":65,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-04/p021"},{"locus":"GA 277c/1922-08-04/p022","passage_number":22,"text":"Und wiederum, wenn zusammenwirken in dieser Weise, wie ich’s geschildert habe, Bewegung und Gefühl, so haben wir schon einen Teil des Seelischen. Denn statt dem Gedanken haben wir die Bewegung, und das Gefühl haben wir ja direkt. Es wird natürlich eine wesentliche Unterstützung für den Zuschauer noch herauskommen, wenn der Schleier eine bestimmte Färbung hat im Verhältnisse zum Gewand, denn am Gewand wird ja im Wesentlichen die Bewegung zum Ausdrucke kommen, wenn am Schleier das Gefühl sichtbar ist.","text_trust":"verbatim","quote_safe":true,"word_count":78,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-04/p022"},{"locus":"GA 277c/1922-08-04/p023","passage_number":23,"text":"So kann man außerdem noch in schönen expressionistischen Formen das Zusammenstimmen von Bewegung und Gefühl zum Vorschein bringen. Und man kann dann davon sprechen, dass, wenn man, sagen wir dem Gewand eine Farbe gibt, entsprechend etwa dem e-Laut, so wird entsprechend dem e-Laut dann, wenn das Gewand eine bestimmte Farbe hat, der Schleier eine entsprechende andere Farbe haben müssen, sodass aber dann auch beide Farben in demselben Verhältnisse stehen, wie Bewegung und Gefühl.","text_trust":"verbatim","quote_safe":true,"word_count":73,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-04/p023"},{"locus":"GA 277c/1922-08-04/p024","passage_number":24,"text":"Das wird man allerdings zunächst bei der eurythmischen Darstellung nicht in solcher Art verwenden können, weil man ja natürlich nicht bei jedem Laut Gewandung und Schleier wechseln kann. Aber ich habe ja schon vorhin gesagt: Wir können sprechen, wenn wir wirklich künstlerisch die Dinge durchdringen, wir können sprechen von gewissen Stimmungen, sagen wir, beim e, sagen wir beim #, können das dann übertragen nicht nur auf Zeilen und Strophen, sondern auf ein ganzes Gedicht. Und wenn wir ein Gefühl haben dafür: dieses Gedicht ist auf i, jenes Gedicht ist auf e gestimmt, oder sagen wir, wenn wir das Gefühl haben: In diesem Gedichte bekommen wir eine richtige Stimmung heraus, die dem Gedichte entspricht, wenn wir bei zwei eurythmischen Darstellern die Sache so machen, dass wir durch den einen eine e-Stimmung charakterisieren durch das Gewand und den Schleier, bei dem anderen eine i- Stimmung, dann kann wiederum durch das Zusammenwirken dieser beiden Stimmungen in Kombinationen gerade die Stimmung des Gedichtes zum Vorschein kommen.","text_trust":"verbatim","quote_safe":true,"word_count":162,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-04/p024"},{"locus":"GA 277c/1922-08-04/p025","passage_number":25,"text":"Solche Versuche sind allerdings schon gemacht worden bei der Zusammenstimmung für Schleier und Gewandung für ganze Gedichte, denn von solchen Dingen muss nämlich ausgegangen werden. Man kann nicht sagen, dass die Dinge auf einer nebulösen Phantasie beruhen können, sondern sie müssen durchaus innerlich künstlerisch erlebt, künstlerisch studiert werden, dann können sie erst in eine solche Wirklichkeit umgesetzt werden, dass der Zuschauer, wenn er von alledem gar nichts weiß, dennoch in ganz naiver Weise den entsprechenden Eindruck hat.","text_trust":"verbatim","quote_safe":true,"word_count":77,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-04/p025"},{"locus":"GA 277c/1922-08-04/p026","passage_number":26,"text":"Nun kommt beim Darstellen des Eurythmischen aber noch ein drittes Element in Betracht, und das ist das willenhafte Element, der Charakter. Sie werden, wenn Sie an irgendeinen Laut denken, und daran denken, er soll eurythmisiert dargestellt werden, so werden Sie sich sagen: Zunächst in der Bewegung stellt sich etwas dar wie die allgemeine Sprachgestaltung im Rezitieren. Die Art und Weise, wie man bildhaft oder musikalisch die Sprache gestaltet, das drückt sich aus in der Bewegung bei der Eurythmie. Das Gefühl, das ja der Rezitator auch hineinlegt in sein Rezitieren, das Gefühl, das kommt zum Ausdruck also ganz sichtbarlich, indem dasjenige, was der Eurythmist in seiner Phantasie selber fühlen muss - da drückt es etwas, da zieht es etwas -, dadurch benimmt er sich in der Bewegung ganz anders. Das wird ganz unwillkürlich, instinktiv anders in der Bewegung, indem er sich in dieser Weise oder in anderer Weise fühlt. Dadurch wird das Ganze wirklich beseelt und durchseelt. Und es ist gut, wenn der Eurythmist nicht nur die ganz äußerliche Bewegung bezwingt, sondern wenn er auch dieses Gefühl hat: Wenn er ein e macht, so hat er ganz bestimmte leise Empfindungen da oder dort, wenn er in seiner Phantasie sich diesem leisen Empfinden hingibt. Aber weil er die Bewegung macht, so wird er die Bewegung in einer ganz anderen Weise beseelt machen, als wenn er nur ganz mechanisch die Bewegung macht.","text_trust":"verbatim","quote_safe":true,"word_count":229,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-04/p026"},{"locus":"GA 277c/1922-08-04/p027","passage_number":27,"text":"Aber auch der Rezitator gibt ja ein Willenselement in das Rezitieren hinein. Er spricht, sagen wir das eine leise; er steigert, er spricht manches ganz laut. Das ist das Willenselement, das hineingetragen wird. Und dieses Willenselement, das ich nennen möchte den Charakter im Künstlerischen, dieses Willenselement, Sie können es auch hineintragen in die eurythmische Darstellung. Nehmen Sie an, Sie haben für irgendeinen Laut den Arm meinetwillen so zu halten - und da haben Sie die Hand. Jetzt werden Sie ganz unwillkürlich und instinktiv künstlerisch etwas anderes machen, wenn Sie die Hand ganz schlapp halten, sodass Sie sie ihrer eigenen Schwere überlassen oder wenn Sie sie strecken. Und Sie werden in Bezug auf den Charakter in ganz ähnlicher Weise wie der Rezitator durch stärkere kräftigere Sprache oder weniger kräftige Sprache Charakter hineinbringen in das Rezitieren und Deklamieren, Sie werden zum Beispiel dem, was Sie mit dem Arm darstellen, einen ganz anderen Charakter geben, wenn Sie als eurythmischer Darsteller sich nicht nur Ihrer Phantasie hingeben, sondern diese Phantasie auch in sich zur Ausführung bringen. Sagen wir, Sie spannen die Stirne an bei irgendeinem Buchstaben oder irgendeiner Passage, die Sie darstellen. Oder Sie fühlen, Sie geben Kraft den Muskeln des Oberarmes bei irgendeiner Bewegung. Oder Sie fühlen, Sie stellen bewusst, indem Sie auf den Boden drücken, die Füße auf bei irgendeiner Bewegung. Das ist das dritte Element, der Charakter, der in das Eurythmische hineinkommen kann.","text_trust":"verbatim","quote_safe":true,"word_count":232,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-04/p027"},{"locus":"GA 277c/1922-08-04/p028","passage_number":28,"text":"![277c-41](images/277c-41.webp)","text_trust":"verbatim","quote_safe":true,"word_count":0,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-04/p028"},{"locus":"GA 277c/1922-08-04/p029","passage_number":29,"text":"Da haben wir also die Möglichkeit, wirklich das ganze Seelische im Eurythmischen zur Darstellung zu bringen. Nun, sehen Sie meine lieben Freunde, es ist merkwürdig, wenn man diesen Gedanken, den ich jetzt eben ausgesprochen habe, wenn man diesen Gedanken nun wirklich ausführt, dann kommt man dazu, einfach, indem man die Eurythmie in einer gewissen Weise ausdrückt, die Ansätze zu dem zu schaffen, was heute als eine besondere Kunstform gesucht wird, das Expressionistische der Kunst. Denn die Eurythmie ist nun in gewissem Sinne ganz wirklich expressionistisch. Sie bedient sich nur nicht jener vielfach albernen Mittel, der sich der sogenannte Expressionismus bedient; sie bedient sich derjenigen Kunstmittel, mit denen man wirklich Ausdrucksformen, Expressionen schaffen kann künstlerisch in der Bewegung des menschlichen Leibes, in dem in die Glieder hineingegossenen Fühlen und in dem in die Glieder hineingegossenen Charakter so, wie ich es eben dargestellt habe.","text_trust":"verbatim","quote_safe":true,"word_count":142,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-04/p029"},{"locus":"GA 277c/1922-08-04/p030","passage_number":30,"text":"Und nun ist versucht worden in einigen Darstellungen, die allerdings auch erst im Anfange sind, in einigen Darstellungen gerade das, was ich jetzt ausgesprochen habe, zu gestalten, so zu gestalten, dass zunächst wenigstens nach diesen Prinzipien die Laute behandelt worden sind, so behandelt worden sind, dass jedem Laute man gerecht wird in einer gewissen Ausdruck weise, man gerecht wird dadurch, dass da wirklich in einer Farbgebung die Bewegung dargestellt ist, in einer zweiten das Gefühl, das in den Schleier aber hineingelegt ist - von dem man natürlich nur die Farbe zu sehen hat in der Darstellung -, und in einer dritten Farbe der Charakter zum Ausdruck kommt. Sodass Sie jeden Laut eurythmisch darstellen können durch die Farbe nach Bewegung, Gefühl und Charakter.","text_trust":"verbatim","quote_safe":true,"word_count":122,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-04/p030"},{"locus":"GA 277c/1922-08-04/p031","passage_number":31,"text":"Dadurch kann vielleicht zweierlei erreicht werden. Erstens kann gesehen werden, inwiefern das Eurythmische mit seinen Mitteln Künstlerisches erreicht. Denn alles, was künstlerisch erreicht werden soll durch die Eurythmie, was einfach auf der Bühne geschehen soll und verwendet werden soll, das ist dieses: Bewegung, Gefühl, Charakter, in der Form, wie ich’s ausgesprochen habe. Geradeso, wie der Bildhauer mit seiner Flächenführung, der Rezitator mit seiner Lautgestaltung, der Musiker mit seinen Tongestaltungen, so muss mit Bewegung, Gefühl und Charakter der Eurythmiker alles dasjenige erreichen, was zu erreichen ist. Das Andere darf alles nicht in Betracht kommen. Das ist das Bereich der Mittel für die eurythmische Kunst. Mit diesen Mitteln muss alles erreicht werden.","text_trust":"verbatim","quote_safe":true,"word_count":110,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-04/p031"}],"beads":[{"from":[20],"to":[20],"confidence":"high"},{"from":[21],"to":[21],"confidence":"high"},{"from":[22],"to":[22],"confidence":"high"},{"from":[23],"to":[23],"confidence":"high"},{"from":[24],"to":[24],"confidence":"high"},{"from":[25],"to":[25],"confidence":"high"},{"from":[26],"to":[26],"confidence":"high"},{"from":[27],"to":[27],"confidence":"high"},{"from":[28],"to":[28],"confidence":"high"},{"from":[29],"to":[29],"confidence":"high"},{"from":[30],"to":[30],"confidence":"high"},{"from":[31],"to":[31],"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)."}}