{"corpus":"steiner","locus":"GA 277c/1922-08-23/p005-p006","extent":"range","passage_number":5,"through":6,"paragraph_count":2,"first_locus":"GA 277c/1922-08-23/p005","last_locus":"GA 277c/1922-08-23/p006","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"Address on Eurythmy","date":"1922-08-23","location":null,"alignment_confidence":"medium","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/SOL2025/19220823e01.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. 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":1.02,"band":"comparable","note":null,"word_count":1879,"original_word_count":1837,"may_be_abridged":false},"site_heading":null,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-23/p005-p006","json_url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-23/p005-p006.json","lecture_url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-23#p005","word_count":879,"quote_safe":true,"passages":[{"passage_number":5,"locus":"GA 277c/1922-08-23/p005","text":"Allow me to say a few words about the significance of eurythmy lessons and the education that children can gain from them. I would like to explain this using the figures that were made in the studio in Dornach, which represent in a certain artistic way what eurythmy is actually about. First of all, however, these figures are intended to provide a basis for the artistic perception of eurythmy. But I will also be able to use these figures to explain individual points relating to pedagogy and didactics. The point is that eurythmy is truly a visible language, not a mimetic expression, not a pantomimic expression, and not ordinary dance art either. Just as a person brings partial organs into activity when singing or speaking, so too can the whole person be brought into those movements that the larynx and its neighboring organs actually want to perform. But they do not get to do so; they suppress them immediately, and then the other movements take place in such a way that what actually wants to become, let us say, this movement in the larynx, so that the laryngeal wings open outwards: a, this is undermined at the moment of its emergence, in the status nascendi, and is transformed into a movement into which the thought content of language can be transferred, and into a movement that can then pass into the air and be heard. The underlying movement, the inner human movement, let's say of the a, you have it here [the figure is shown]. This is what the whole human being wants to do when he bursts out in a. And so every utterance of song and speech can be made visible in the movement that the whole human being actually wants to perform, but which is held back in the status nascendi. In this way, one can arrive at every such form of movement. Just as there are formations of the larynx and the other speech organs for a, i, I m, so there are the corresponding movements, forms of movement. These forms of movement are therefore the revelation of the will, for which the revelations of thought and will otherwise exist in speech and singing. The intellectual, the purely abstract intellectual, which is in language, is taken out here and everything that wants to be expressed is transferred into the movement itself, so that eurythmy is, in the broadest sense, an art of movement. Just as you can hear the a, you can see the a; just as you can hear the i, you can see the i.","text_trust":"verbatim","quote_safe":true,"word_count":431,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-23/p005","german_anchor":{"de_prefix":"1922-08-23","de_passages":[{"locus":"GA 277c/1922-08-23/p005","url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-23/p005"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"],"length_check":{"de_words":412,"en_words":431,"ratio":1.05,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. The German original passage(s) above are the edition-invariant anchor — fetch them (lang='de') to verify wording before quoting across editions."},"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/SOL2025/19220823e01.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/1922-08-23/p005"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"medium","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":6,"locus":"GA 277c/1922-08-23/p006","text":"Now, the aim in these figures is that the movement is captured above all in the plastic design of the wood. The basic color is there, which is actually supposed to express the form of movement everywhere, but just as feeling flows into our spoken language, so too can feeling flow down into movement. For we do not just speak a sound, we also give the sound a feeling coloration. We can do this in eurythmy as well. And here a strong subconscious element comes into play in eurythmy. If the actor, the performer, is able to artistically incorporate this feeling into their movement, then one will also feel this feeling when one sees the eurythmic movements. Here, it is also taken into consideration that the veil that is worn should follow these feelings. So that what is used here as a second color, preferably on the veil, represents the emotional nuance for the movement. So you have a first basic color that expresses the movement itself, and a second color superimposed on it, which is preferably expressed in the veil and expresses the emotional nuance. But the eurythmic actor must have the inner strength to put this feeling into the movement, just as it makes a difference whether I say to someone: Come to me! in a commanding tone, or: Come to me! in a friendly invitation. That is the emotional nuance. So what is expressed here in the second color and then continued in the veil represents the emotional nuance of eurythmic language. And the third brings in character, the strong element of will. This only comes into eurythmy because the eurythmic actor is able to empathize with his movements and express them within himself. The head of a eurythmic actor looks completely different depending on whether he tenses the muscles on the left side of his head and leaves the right side somewhat relaxed, as is indicated here, for example, by the third color. You can observe this: the third color always indicates the element of will. Here, for example, something is tensed on the left side, and here across the mouth; here the forehead is slightly tensed, the muscles of the forehead slightly tensed. This then gives the whole an inner character, radiating from this gentle tension, because what is gently tensed here radiates throughout the whole organism. And from this movement, which is expressed by the basic color, from the emotional nuance, which is expressed by the second color, and from this element of will — the whole element is an element of will, but the will is added to it in a special way — the actual art of eurythmy is composed.","text_trust":"verbatim","quote_safe":true,"word_count":448,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-23/p006","german_anchor":{"de_prefix":"1922-08-23","de_passages":[{"locus":"GA 277c/1922-08-23/p006","url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-23/p006"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":436,"en_words":448,"ratio":1.03,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. 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Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 277c/1922-08-23/p006"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"medium","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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Ich möchte das erläutern an den Figuren, die im Atelier in Dornach gemacht worden sind und die in einer gewissen künstlerischen Weise darstellen werden dasjenige, was eigentlich der Inhalt des Eurythmischen ist. Zunächst sind diese Figuren allerdings mehr bestimmt, eine Grundlage zu geben für die künstlerische Anschauung der Eurythmie. Ich werde aber auch in der Lage sein, in Bezug auf das Pädagogisch-Didaktische gerade aus diesen Figuren heraus einzelnes vor ihnen klarzumachen. Es handelt sich darum, dass ja die Eurythmie wirklich eine sichtbare Sprache ist, keine mimische Äußerung, keine pantomimische Äußerung und auch keine gewöhnliche Tanzkunst. Geradeso wie der Mensch partielle Organe in Regsamkeit, in Tätigkeit bringt, wenn er singt oder wenn er spricht, so kann man auch den ganzen Menschen in diejenigen Bewegungen bringen, die eigentlich der Kehlkopf und seine Nachbarorgane ausüben wollen. Aber sie kommen nicht dazu, sie unterdrücken sie gleich, und da werden die anderen Bewegungen, die dann so verlaufen, dass sich dasjenige, was eigentlich im Kehlkopf, sagen wir, diese Bewegung werden will, sodass sich die Kehlkopfflügel nach außen öffnen: a, das wird im Moment des Entstehens, im Status nascendi untergraben, wird in eine solche Bewegung verwandelt, in die der Gedankeninhalt der Sprache hineinversetzt werden kann, und in eine Bewegung, die dann in die Luft übergehen kann und gehört werden kann. Die zugrundeliegende Bewegung, die eigentlich innermenschliche Bewegung, sagen wir des a, Sie haben sic hier /die Figur wird gezeigt]. Das will der ganze Mensch machen, wenn er in a ausbricht. Und so kann man jede Äußerung des Gesanges und der Sprache in der Bewegung, die eigentlich der ganze Mensch ausführen will, aber im Status nascendi aufhält, sichtbar machen. So kann man zu jeder solchen Bewegungsform kommen. Geradeso wie es Formungen gibt des Kehlkopfes und der anderen Sprachorgane für a, i, I m, so gibt es die entsprechenden Bewegungen, Bewegungsformen. Diese Bewegungsformen, sie sind daher diejenige Offenbarung des Willens, für die sonst die Offenbarungen des Gedankens und des Willens, im Sprechen und Singen bestehen. Das Gedankliche, das rein abstrakte Gedankliche, das in der Sprache ist, wird hier herausgenommen und alles, was sich aussprechen will, in die Bewegung selbst hineinversetzt, sodass die Eurythmie im weitesten Sinne eine Bewegungskunst ist. Genau ebenso, wie Sie das a hören können, können Sie das a anschauen, wie Sie das i hören können, können Sie das i anschauen.","text_trust":"verbatim","quote_safe":true,"word_count":412,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-23/p005"},{"locus":"GA 277c/1922-08-23/p006","passage_number":6,"text":"Nun ist in diesen Figuren das angestrebt, dass in der plastischen Gestaltung des Holzes die Bewegung vor allen Dingen festgehalten ist. Es ist die Grundfarbe da, die eigentlich überall die Bewegungsform zum Ausdruck bringen soll, aber wie in unsere Lautsprache das Gefühl hineinströmt, so kann das Gefühl auch hinunterströmen in die Bewegung. Denn wir sprechen ja nicht nur einen Laut, sondern wir geben dem Laute eine Gefühlsfärbung. Das können wir auch in der Eurythmie. Und da wirkt ein stark unterbewusstes Element in die Eurythmie hinein. Wenn der Akteur, der Darsteller imstande ist, dieses Gefühl künstlerisch in seine Bewegung hineinzulegen, dann wird man dieses Gefühl auch mitfühlen, wenn man die eurythmischen Bewegungen sieht. Hier ist noch das in Betracht gezogen, dass der Schleier, der getragen wird, diesen Gefühlen folgen soll. Sodass also dasjenige, was hier als zweite Farbe vorzugsweise auf den Schleier verwendet ist, darstellt die Gefühlsnuance für die Bewegung. Sie haben also eine erste Grundfarbe, die drückt die Bewegung selber aus, eine zweite daraufgesetzte Farbe, die vorzugsweise im Schleier zum Ausdrucke kommt, die drückt die Gefühlsnuance aus. Aber der eurythmische Akteur muss die innere Kraft haben, dieses Gefühl in die Bewegung hineinzulegen, so wie es einen Unterschied macht, ob ich zu jemandem sage: Komm zu mir! - befehlend - oder: Komm zu mir! - freundlich auffordernd. Das ist die Gefühlsnuance. So stellt dasjenige, was hier in der zweiten Farbe zum Ausdrucke kommt und was dann in den Schleier hinein fortgesetzt wird, die Gefühlsnuance der eurythmischen Sprache dar. Und das Dritte bringt Charakter, das starke Willenselement hinein. Das kommt nur dadurch in die Eurythmie hinein, dass der eurythmische Akteur in der Lage ist, mitzuempfinden seine Bewegungen und dass er sie in sich selbst ausdrückt. Der Kopf eines eurythmischen Akteurs sieht ganz anders aus, ob er die Muskeln im linken Haupte etwas spannt und im rechten etwas schlaff lässt. wie es zum Beispiel hier angedeutet ist durch die dritte Farbe. Sie können das beobachten, immer die dritte Farbe zeigt das Willensmäßige an. Hier zum Beispiel wird an der linken Seite etwas gespannt, und hier über den Mund hinüber; hier wird die Stirne etwas gespannt, die Muskeln der Stirne etwas gespannt. Das gibt dann — ausstrahlend von dieser leisen Spannung, denn das strahlt in den ganzen Organismus aus, was da leise gespannt wird -, das gibt dem Ganzen einen innerlichen Charakter. Und aus dieser Bewegung, die durch die Grundfarbe ausgedrückt ist, aus der Gefühlsnuance, die durch die zweite Farbe ausgedrückt wird, und aus diesem Willenselemente — das ganze Element ist Willenselement, aber da wird der Wille noch besonders draufgesetzt -, aus dem setzt sich die eigentliche eurythmische Kunst zusammen.","text_trust":"verbatim","quote_safe":true,"word_count":436,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-23/p006"}],"beads":[{"from":[5],"to":[5],"confidence":"medium","pairing_state":"verified"},{"from":[6],"to":[6],"confidence":"medium","pairing_state":"verified"}],"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)."}}