Some Notes Towards Finding a View of the New Oral Poetry

Economou, George

doi:10.2307/302183

Cited by 12 publications

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“…The success of the event was undeniable: the two thousand tickets sold out quickly, the event was broadcast on radio and television, and the newspapers commented extensively on the performances . Furthermore, it inspired Guido Lauwaert to organize a similar festival in Flanders, resulting in the successive 'Nachten van de Poëzie' ['Nights of Poetry'] in 1973, 1975, 1980and 1984 During those infamous Nights, "the audience, which came in large numbers, could actively participate in a true poetry celebration, where poets read their own work or tried in turn to amuse or provoke the audience with their act," according to De Geest (869). 12 The lasting impact of 'Poëzie in Carré' is also documented by several modern Dutch overviews of literary history, in which the event is mentioned as an important date in Dutch literary history (Goedegebuure 777; Brems 459).…”

Section: Performing Poetry In the Sixties And The Conflict Between Twmentioning

confidence: 99%

The Performance of Poeticity: Stage Fright and Text Anxiety in Dutch Performance Poetry since the 1960s

Franssen

2012

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The relation between performance poetry and poetry criticism, as the latter is generally practiced in newspapers and journals, appears to be strained. This is the result of a clash between two different performance traditions: on the one hand, a tradition that goes back to eighteenth- and nineteenth-century conventions of poetry declamation or recitation; and on the other hand, a tradition based on performance experiments carried out by avant-garde movements during the first half of the twentieth-century. This article charts the different sets of expectations associated with these traditions by analyzing how these expectations became manifest during the Dutch poetry event ‘Poëzie in Carré’ (Febraury 28th, 1966). As will become clear, individual authorship, textual unity, and poetic significance play important, yet very different roles in these two traditions. Furthermore, I put forward an alternative approach to the issue at hand, by focusing on one particular participant in ‘Poëzie in Carré,’ Johnny van Doorn (1944-1991). Thus, this article aims to contribute to a historically aware and more constructive analysis of performance poetry.

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Section: Performing Poetry In the Sixties And The Conflict Between Twmentioning

confidence: 99%

The Performance of Poeticity: Stage Fright and Text Anxiety in Dutch Performance Poetry since the 1960s

Franssen

2012

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The Poetry Circuit

Howarth

2024

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Live performance changed modern poetry by giving poets new audiences and a new way to make a living. It also generated new kinds of poetry, from Imagism to confessional to contemporary spoken word. Mixing close listening to archive performances with intimate histories of modernist venues and promotors, The Poetry Circuit tells the story of how poets met their public again, and how the feedback loops between voice, venue, and occasion turned the poems into running dramas between poet and listener. Caught on tape, a nervous T. S. Eliot reveals himself to be anything but impersonal, while Marianne Moore’s accident-prone readings keep her poems in constant re-draft. Robert Frost used his performances to spar with rivals and admirers, while Langston Hughes wrote Ask Your Mama to expose the prejudice circulating in the room as he spoke it. The Poetry Circuit also shows how the post-war reading boom made new kinds of poetry that involve their audience in the performance, such as John Ashbery’s anti-charismatic Poets’ Theatre, Amiri Baraka’s documentary soundtracks of the streets, and the confessional readings of Allen Ginsberg, which shame the listeners more than the poet. Covering the first seventy years of the poetry reading, The Poetry Circuit shows that there never were ‘page’ and ‘stage’ poets: the reading simply changed what every modern poet had to do.

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Howarth

2024

The Poetry Circuit

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Some Notes Towards Finding a View of the New Oral Poetry

Cited by 12 publications

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The Performance of Poeticity: Stage Fright and Text Anxiety in Dutch Performance Poetry since the 1960s

The Performance of Poeticity: Stage Fright and Text Anxiety in Dutch Performance Poetry since the 1960s

The Poetry Circuit

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