{"corpus":"steiner","locus":"GA 28/l25/p006","lang":"en","edition":"APC1928","edition_basis":"Marie Steiner edition (posthumous)","is_original":false,"is_default_edition":true,"text":"The first play that we produced in this way was Maurice Maeterlinck's *L'intruse*.[^1] Otto Erich Hartleben had made the translation. Maeterlinck was then considered by the aesthetes as the dramatist who was fitted to bring upon the stage before the eyes of the susceptible spectator the invisible which lies amid the gross events of life. That which is ordinarily called incident in drama, the form of development in dialogue, Maeterlinck so employs as to produce thereby upon the susceptible the effect of symbols. It was this symbolizing that attracted many whose taste had been repelled by the preceding naturalism. All who were seeking for the “spirit,” but who did not desire a form of expression in which a world of spirit is directly revealed, found their satisfaction in a symbolism that spoke a language not expressed in naturalistic form and yet entered into the spiritual only to the extent that this was revealed in the vague blurred form of the mystic-presentimental. The less one could “tell distinctly” what lay behind the suggestive symbols, the more were many enraptured by them.","text_trust":"verbatim","quote_safe":true,"title":"Chapter XXV","site_heading":"Theatre as Creative Spiritual-Artistic Revelation","site_heading_note":"A heading the site wrote for this unit from a summary of it; not in the edition, and not the words of Rudolf Steiner or of the translator. Cite the unit by its title and locus, never by this heading, and do not quote it.","date":null,"location":null,"word_count":180,"url":"https://anthroposophy.ai/v1/steiner/en/ga/28/l25/p006","alignment_confidence":"high","alignment_reason":"beads:length","two_voice_volume":false,"translation_credit":null,"edition_coverage":{"de":["original"],"en":["APC1928"]},"available_versions":[{"lang":"de","edition":"original","edition_basis":"Marie Steiner edition (posthumous)","is_original":true,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/de/ga/28/l25/p006"},{"lang":"en","edition":"APC1928","edition_basis":"Marie Steiner edition (posthumous)","is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/28/l25/p006","paragraph_aligned":true}],"paired_german":{"status":"paired","german":[{"locus":"GA 28/l25/p006","passage_number":6,"text":"Das erste Drama, das wir in dieser Art aufführten, war Maurice Maeterlincks «Der Ungebetene» (l'intruse). Otto Erich Hartleben hatte die Übersetzung gegeben. Maeterlinck galt damals bei den Ästhetizisten als der Dramatiker, der das Unsichtbare, das zwischen den gröberen Geschehnissen des Lebens liegt, auf der Bühne dem *ahnend* erfassenden Zuschauer vor die Seele bringen könne. Von dem, was im Drama sonst «Vorgänge» genannt wird, von der Art, wie der Dialog verläuft, machte Maeterlinck einen solchen Gebrauch, daß dadurch zu Ahnendes wie im Symbol wirkt. Dieses Symbolisierende war es, was manchen Geschmack damals anzog, der von dem vorangegangenen Naturalismus abgestoßen war. Allen, die «Geist» suchten, aber keine Ausdrucksformen wünschten, in denen eine «Geistwelt» sich unmittelbar offenbart, fanden in einem Symbolismus ihre Befriedigung, der eine Sprache führte, die sich nicht in naturalistischer Art ausdrückte, die aber auf ein Geistiges doch nur insofern ging, als dieses in mystisch-ahnungsvoller, unbestimmt verschwimmender Art sich kundgab. Je weniger man «deutlich sagen» konnte, was hinter den andeutenden Symbolen liegt, desto verzückter wurden manche durch sie.","text_trust":"verbatim","quote_safe":true,"word_count":167,"url":"https://anthroposophy.ai/v1/steiner/de/ga/28/l25/p006"}],"english":["GA 28/l25/p006"],"method":"length","confidence":"high","correspondence":"established","length_check":{"de_words":167,"en_words":180,"ratio":1.08,"partial":false},"pairing_state":"proposed","verified":false},"witness_completeness":{"ratio":1.14,"band":"comparable","note":null,"word_count":2458,"original_word_count":2159,"may_be_abridged":false},"witness_quality":{"translator":{"status":"unknown","warning":"No translator is recorded for this edition. An unattributed translation cannot be weighed as a witness: you cannot tell which hand made the choices in it. Cite the German for anything load-bearing."},"entity_parity":{"status":"ok","checked_against":["GA 28/l25/p006"],"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."}}