“Poets versus Actors Reading Poetry on Swedish Radio 2020–2021” Following the rise of the poet as the principal performer of his or her own work, in the second half of the 20th century, actors have been criticized for performing poetry as if acting on stage, or for focusing too much on conveying the lyric I. This primarily quantitative study investigates what prosodic differences there are between poets and actors reading poetry. The material consists of 276 readings from the Swedish public radio program Dagens dikt (The Daily Poem), from 2020 and 2021. A set of prosodic measures are produced for each recording with computational aid, and the groups are compared by using descriptive statistics. The differences found in terms of tempo and pausal patterns, though small, suggest that the actors read in a conventionally poetic, expressive style, while the poets are closer to a style typical of prose reading and conversational speech; this might be connected to differences between their respective repertoire – the poets reading newer, longer, and possibly more narrative texts. When it comes to pitch, there are more substantial differences: the poets are more monotonous and their tonal patterns more predictable, indicating a formal, less expressive style. These traits are associated with the highly stylized vocal cliché Poet Voice, which in turn is connected to poetological shifts in the last few decades. In both groups, however, younger individuals (born 1970 or later) and women, respectively, are the more monotonous and predictable; this might suggest a sociolinguistic trend not limited to poetry. Qualitative, close listening to a selection of readings largely confirms the findings of the quantitative investigation. While the frequently idiosyncratic poets tend to highlight form, such as rhythm and tonal repetitions, the actors rather try to convey the content of the poem, in accordance with prosodical and performative conventions.
I artikeln undersöks Poet Voice, en framträdande praktik för uppläsning av samtida poesi, utifrån tre svenska företrädare: Ida Börjel, Athena Farrokhzad och Jenny Wrangborg. Beskrivningen utgår från några av de prosodiska mått, gällande grundtonsfrekvensen (tonhöjd), som utvecklats av MacArthur, Zellou & Miller (2018). Detta kompletteras av ytterligare mätningar och iakttagelser, och de karakteristiska dragen för Poet Voice hos de tre poeterna förstås som ett led i en tradition; dess snäva tonala omfång och de jämna och reglerade frasenheterna och pauserna står i konflikt med konventionell prosodi, och motsvarar dels spänningen mellan meter och talrytm i bunden vers, dels konflikten mellan visuell versradsindelning och syntax i modernismens fria vers. Poet Voice gör visserligen den upplästa texten mindre konventionellt uttrycksfull, men förstådd på det här sättet kan Poet Voice-dragen genom ikonicitet ge annan mening på ett för poesin specifikt sätt. Poet Voice innebär också att vissa för skriften utmärkande drag kan representeras vid uppläsning.
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