{"corpus":"steiner","locus":"GA 277d/1923-08-26/p072","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"Eurythmy can be accompanied, not only by recitation and declamation, but also by instrumental music. But here it must always be borne in mind that Eurythmy is music translated into movement, and is not dancing in any sense of the word. There is a fundamental difference between Eurythmy and dancing. People, however, often fail to make this distinction when seeing Eurythmy on the stage, owing to the fact that Eurythmy uses as its instrument the human body in motion. I myself know of a journalist—I am not personally acquainted with him, but his articles have been brought to my notice—who, writing on Eurythmy, says: “It cannot be denied that, when one witnesses a demonstration of Eurythmy, the performers on the stage are continually in motion. Eurythmy must, therefore, be looked upon as dancing, and must be judged accordingly.” Now I think it will be admitted that what we have seen here of Tone-Eurythmy, of this visible singing, accompanied as it is by instrumental music, is clearly to be distinguished from ordinary dancing. Tone-Eurythmy is essentially not dancing, but is a singing in movement, movement which can be carried out either by a single performer, or by many together.","text_trust":"verbatim","quote_safe":true,"title":"A Lecture on Eurythmy","site_heading":null,"date":"1923-08-26","location":null,"word_count":198,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277d/1923-08-26/p072","alignment_confidence":"medium","alignment_reason":"beads:embedding","two_voice_volume":false,"translation_credit":{"scope":"unit","status":"established","translator":"A. C. Harwood","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/SOL2025/19230826p01.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":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277d/1923-08-26/p072","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},"german_anchor":{"de_prefix":"1923-08-26","de_passages":[{"locus":"GA 277d/1923-08-26/p040","url":"https://anthroposophy.ai/v1/steiner/de/ga/277d/1923-08-26/p040"},{"locus":"GA 277d/1923-08-26/p041","url":"https://anthroposophy.ai/v1/steiner/de/ga/277d/1923-08-26/p041"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["anchors","reader"],"reader_german":["GA 277d/1923-08-26/p040"],"length_check":{"de_words":298,"en_words":384,"ratio":1.29,"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."},"paired_german":{"status":"paired","german":[{"locus":"GA 277d/1923-08-26/p040","passage_number":40,"text":"Ebenso, wie man nun das Rezitatorische und Deklamatorische mit Eurythmie begleiten kann, so kann man eben auch das am Instrument musikalisch Angeschlagene begleiten. Nur muss man sich klar sein, dass die Eurythmie nicht ein Tanz ist, sondern ein bewegtes Singen ist, etwas anderes ist, als ein Tanz. Die Leute kommen natürlich zur Eurythmie, sehen einen bewegten Menschen - ich habe sogar schon einen Journalisten nicht persönlich kennen lernen, sondern von ihm lesen können, der gesagt hat: Ja, wenn man die Eurythmie auf der Bühne anschaut, es bewegen sich die Menschen, es muss doch Tanz sein, also muss man es auch als Tanz beurteilen können! - Ja, nicht wahr, es ist eben gerade an demjenigen, was hier auftritt als Toneurythmie als Begleitung der Instrumentalmusik, zu sehen, wie man das Tanzen von dem unterscheiden kann, was dieser sichtbare Gesang, die Eurythmie ist. Es ist ein Singen durch Bewegungen des einzelnen Menschen oder von Menschengruppen, nicht ein Tanzen.","text_trust":"verbatim","quote_safe":true,"word_count":155,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277d/1923-08-26/p040"},{"locus":"GA 277d/1923-08-26/p041","passage_number":41,"text":"Und wenn auch die anderen Glieder — Beine und so weiter, meinetwillen auch der Kopf oder, wie vorher gesagt, die Nase, meinetwillen die Ohren - neben der Bewegung der Arme und der Hände in Betracht kommen, so ist es wie zu einer Art von Unterstützung, wie wenn wir ja auch das Sprachliche, das gewöhnliche Sprachliche unterstützen. Wenn wir einen Jungen ermahnen, so sprechen wir die Ermahnung aus, machen aber auch das entsprechende Gesicht dazu. Das muss natürlich in dezenter Weise dazu gemacht werden, sonst ist es fratzenhaft. So werden auch diejenigen Bewegungen, die tanzend oder mimisch sind, wenn sie hinzukommen zu dem Eurythmischen, sie werden fratzenhaft, wenn sie aufdringlich sich hinzugesellen, sie werden brutal, oder sie werden in einer gewissen Weise undezent, während dasjenige, was in der wirklichen Eurythmie zum Ausdrucke kommt, eben die reinste Offenbarung der menschlichen Seele ist in der Sichtbarkeit.","text_trust":"verbatim","quote_safe":true,"word_count":143,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277d/1923-08-26/p041"}],"english":["GA 277d/1923-08-26/p072","GA 277d/1923-08-26/p073"],"method":"embedding","confidence":"medium","correspondence":"established","length_check":{"de_words":298,"en_words":384,"ratio":1.29,"partial":false},"pairing_state":"verified","verified":true,"evidence":["anchors","reader"],"reader_german":["GA 277d/1923-08-26/p040"]},"witness_completeness":{"ratio":1.27,"band":"comparable","note":null,"word_count":8808,"original_word_count":6935,"may_be_abridged":false},"witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"A. C. Harwood","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/SOL2025/19230826p01.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/1923-08-26/p040","GA 277d/1923-08-26/p041"],"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."}}