{"corpus":"steiner","locus":"GA 277d/1923-04-08/p013-p014","extent":"range","passage_number":13,"through":14,"paragraph_count":2,"first_locus":"GA 277d/1923-04-08/p013","last_locus":"GA 277d/1923-04-08/p014","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"Eurythmy Performance","date":"1923-04-08","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 1923–1925","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277d/English/SOL2025/19230408e01.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":1.01,"band":"comparable","note":null,"word_count":2087,"original_word_count":2060,"may_be_abridged":false},"site_heading":null,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277d/1923-04-08/p013-p014","json_url":"https://anthroposophy.ai/v1/steiner/en/ga/277d/1923-04-08/p013-p014.json","lecture_url":"https://anthroposophy.ai/v1/steiner/en/ga/277d/1923-04-08#p013","word_count":332,"quote_safe":true,"passages":[{"passage_number":13,"locus":"GA 277d/1923-04-08/p013","text":"One can get a good sense of what eurythmy actually is by trying to distinguish in one's feelings between what happens on stage in the eurythmic representation of music and what happens in dance. Dancing is something else. It allows the musical to slip out of consciousness, so to speak, and pass into human movement – but the human being surrenders to space. In eurythmy, we are dealing with a moving, vivid, real singing – the human being takes in space, the form of space. In dance, the human being flows into the spatial form; in eurythmy, he takes the space into himself. What radiates outward in the dance movement, he allows to radiate within himself.","text_trust":"verbatim","quote_safe":true,"word_count":116,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277d/1923-04-08/p013","german_anchor":{"de_prefix":"1923-04-08","de_passages":[{"locus":"GA 277d/1923-04-08/p013","url":"https://anthroposophy.ai/v1/steiner/de/ga/277d/1923-04-08/p013"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":128,"en_words":116,"ratio":0.91,"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 1923–1925","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277d/English/SOL2025/19230408e01.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 277d/1923-04-08/p013"],"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":14,"locus":"GA 277d/1923-04-08/p014","text":"And so in eurythmy – accompanied by recitation, declamation, and music – we have before us the strongest possible form of human expression conceivable in space. One has before one something in which the soul and spirit that dwell within the human being come before the eyes of the spectator through the whole human organism. This naturally makes it necessary that when reciting or declaiming accompanied by eurythmy, one should return to the truly artistic forms of past ages, which did not yet seek, as today's unartistic prosaic pointillism, but knew what was important in recitation and declamation: speech formation, the imaginative in onomatopoeia, the tactile, the rhythmic, the harmonious. Language can only be shaped artistically to the extent that one is able to incorporate an imaginative or musical element into it. Goethe stood in front of his actors with a baton when he rehearsed his iambic dramas with them himself. He wanted to express that he was more concerned with the shaping of language than with the mere communication of content. That is why Dr. Steiner spent years striving to develop the art of recitation, which in turn focuses on the artistic aspect of speech formation. Only in this form can declamation and recitation be combined with eurythmy, with what I would call orchestral unity.","text_trust":"verbatim","quote_safe":true,"word_count":216,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277d/1923-04-08/p014","german_anchor":{"de_prefix":"1923-04-08","de_passages":[{"locus":"GA 277d/1923-04-08/p014","url":"https://anthroposophy.ai/v1/steiner/de/ga/277d/1923-04-08/p014"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"],"length_check":{"de_words":221,"en_words":216,"ratio":0.98,"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 1923–1925","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277d/English/SOL2025/19230408e01.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 277d/1923-04-08/p014"],"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."}}],"witnesses":[{"lang":"de","edition":"original","is_original":true,"is_default_edition":true,"first_passage":1,"last_passage":19,"passage_count":19,"word_count":2060},{"lang":"en","edition":"English","is_original":false,"is_default_edition":true,"first_passage":1,"last_passage":19,"passage_count":19,"word_count":2087,"completeness":{"ratio":1.01,"band":"comparable","note":null}}],"aligned_witness":{"status":"aligned","lang":"de","edition":"original","confidence":"medium","passages":[{"locus":"GA 277d/1923-04-08/p013","passage_number":13,"text":"Man kann sich dabei von dem, was eigentlich Eurythmie ist, eine gute Empfindung verschaffen, wenn man versucht, im Gefühl das, was bei der eurythmischen Darstellung eines Musikalischen auf der Bühne vor sich geht, zu unterscheiden von dem Tanz. Das Tanzen ist eben etwas anderes. Es lässt sozusagen das Musikalische aus dem Bewusstsein herausschlüpfen, in die Bewegung des Menschen übergehen - aber der Mensch übergibt sich dem Raume. In der Eurythmie haben wir es mit einem bewegten, in der Bewegung anschaulichen, wirklichen Singen zu tun - da nimmt der Mensch den Raum, die Raumform in sich herein. Beim Tanz fließt der Mensch in die Raumform über; bei der Eurythmie nimmt er den Raum in sich herein. Was in der Tanzbewegung nach außen strahlt, das lässt er in sich verstrahlen.","text_trust":"verbatim","quote_safe":true,"word_count":128,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277d/1923-04-08/p013"},{"locus":"GA 277d/1923-04-08/p014","passage_number":14,"text":"Und man hat daher in der Eurythmie - sowohl in Begleitung des Rezitatorischen und Deklamatorischen wie auch des Musikalischen — die im Raume denkbar stärkst mögliche menschliche Ausdrucksweise vor sich. Man hat etwas vor sich, wo das Seelisch-Geistige, das im Menschen wohnt, durch den ganzen menschlichen Organismus vor das Auge des Zuschauers tritt. Das macht natürlich notwendig, dass nun, wenn rezitiert oder deklamiert wird in Begleitung der Eurythmie, zu den wirklich künstlerischen Formen von Zeitaltern zurückgekehrt wird, die noch nicht wie das heutige unkünstlerische, im prosaischen Pointieren oftmals die eigentliche Deklamations- und Rezitationskunst suchten, sondern die wussten, worauf es beim Rezitieren und Deklamieren ankommt, auf die Sprachgestaltung, auf das Imaginative in der Lautmalerei, auf das Taktmäßige, Rhythmische, auf das Harmonische. Die Sprache ist nur insofern künstlerisch zu gestalten, als man ihr ein imaginatives Element oder ein musikalisches Element einzuverleiben vermag. Goethe stand mit dem Taktstock vor seinen Schauspielern, wenn er ihnen seine Jambendramen selber einstudierte. Er wollte zum Ausdrucke damit bringen, dass es ihm vielmehr auf die Sprachgestaltung ankam als auf das bloße Mitteilen des Inhaltes. Daher hat sich auch Frau Doktor Steiner jahrelang bemüht, gerade diejenige Rezitationskunst, die nun wiederum auf das Künstlerische der Sprachgestaltung eingeht, zur Ausbildung zu bringen. Nur in dieser Form ist das Deklamatorische und Rezitatorische mit dem Eurythmischen zu, ich möchte sagen orchestraler Einheit zu verbinden.","text_trust":"verbatim","quote_safe":true,"word_count":221,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277d/1923-04-08/p014"}],"beads":[{"from":[13],"to":[13],"confidence":"medium","pairing_state":"verified"},{"from":[14],"to":[14],"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)."}}