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Dissertations / Theses on the topic 'Poetry and performance'
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Vernon, Jenifer Rae. "Making community with the deep communication of popular live poetry in San Diego, California at the Millennium." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3330317.
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Thesis (Ph. D.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed November 19, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 233-241).
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Kridler, Jamie Branam. "Justus Troupe Performance Poetry Group." Digital Commons @ East Tennessee State University, 2004. https://dc.etsu.edu/etsu-works/5863.
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Phillips, Tom. "Pindar's library : performance poetry and material texts." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:fb9b6bcc-0a2e-486e-94c4-f74a30d8cae8.
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Haas, Benjamin David. "Autobiographical Performance Poetry as a Philosophy of [Authenticity]." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/273.
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This thesis begins the process toward a concept of [authenticity] that is both fragmented and performative. I outline a history in philosophy and performance studies where authenticity has been deployed, and demonstrate how it is often tied to modernist ideologies. I then offer "[authenticity]," with brackets, as a means to allow for this term to challenge these modernist conceptions of the self. I then track the ways in which "[authenticity]" opens the possibilities for a new approach to performing by exploring my performance of the poem, "Hydrangeas."
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Virtanen, Juha. "Innovative poetry & performance 1950-1980: event/effect." Thesis, University of Kent, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.592019.
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This thesis takes three related observations as its point of departure. Drawing upon recent comments from lain Sinclair and Robert Sheppard, I initially present it as an investigation that intends to bring hitherto 'invisible' histories to a more tangible o field. Specifically, the histories in this thesis address the interactions between innovative poetry and performance. While this field of research has already produced several significant monographs and anthologies, they often focus almost exclusively on American poetry. Moreover, many of these studies seek to analyse the macroscopic phenomena of poetry readings with reference to elocution and rhetoric. Instead , this thesis concentrates on selected 'event histories ' between 1950 and 1980, which are all subjected to a detailed investigation. Broadly, I approach each case study through an overview of the performance (i.e. the 'event') and a close examination of its techniques and contexts (i.e. the 'effect'). The individual chapters discuss Charles Olson's relationship to John Cage's 'Theatre Piece # I'; Allen Ginsberg's reading at The First International Poetry Incarnation in 1%5; Denise Riley 's first public reading at the Cambridge Poetry Festival in 1977; Eric Mottram's collaborative performance Pollock Record; and Allen Fisher's Blood Bone Brain project from the I97Os. During the course of these investigations, I address concepts such as event (via Whitehead), space (via Lefebvre), gender and perfonnativity (via Butler), memory and forgetting, as well as the body without organs (via Deleuze and Guattari). I also incorporate additional perspectives from Debord, de Certeau, DeJTida, Lyotard and others. Throughout, I explore the parallels between the performance and the poets' respective works, as well as the socio-political contexts of each event. In the conclusion, I draw upon this versatility to problematize certain aspects of 'the performance of authorship' that appears in previous studies, before turning to speculate upon further developments that might make this-and the current-period of poetry seem a little less 'off-piste' in the future. 1
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Willey, Stephen. "Bob Cobbing 1950-1978 : performance, poetry and the institution." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8307.
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Bob Cobbing (1920-2002) was a poet known for his performances and as an organiser of poetry events, as a participant in the British Poetry Revival, as a late-modernist and as a sound and concrete poet. This thesis seeks to reconfigure our view of Cobbing as a performer by considering his performances across a range of institutions to argue that this institutionalised nature was their defining aspect. It maps the transition from Cobbing’s defence of amateurism and localism in the 1950s to his self-definition as a professional poet in the mid 1960s and his attempt to professionalise poetry in the 1970s. This process was not uncontested: at each stage the idea of the poet and the reality of what it meant to live as a poet were at stake The first chapter considers Cobbing’s poems and visual artworks of the 1950s in the context of Hendon Arts Together, the suburban amateur arts organisation he ran for ten years, and it situates both in Britain’s postwar social and cultural welfare system. Chapter two analyses Cobbing’s transition from Finchley’s local art circles to his creative and organisational participation in London’s international counterculture, specifically the Destruction in Art Symposium (9-11 September 1966). Chapter three considers ABC in Sound in the context of the International Poetry Incarnation (11 June 1965) and analyses Cobbing’s emergence as a professional poet. Chapter four examines Cobbing’s tape-based poems of 1965-1970 and their associated visual scores in the context of audio technology, and the role they played in Cobbing’s professionalisation. The final chapter examines Cobbing’s performances at the Poetry Society (1968- 1978) in order to investigate the effects of subsidy and friendship on poetic performance.
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Hall-Downs, Liz. "My arthritic heart : a collection of poetry; and, Making a writer : poetry, fiction, performance and illness /." [St. Lucia, Qld.], 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16739.pdf.
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Bean, Heidi R. "Poetry 'n acts: the cultural politics of twentieth-century American poets' theater." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/638.
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"Poetry 'n Acts: The Cultural Politics of Twentieth-Century American Poets' Theater," focuses on the disciplinary blind spot that obscures the productive overlap between poetry and dramatic theater and prevents us from seeing the cultural work that this combination can perform. Why did 2100 people turn out in 1968 to see a play in which most of the characters speak only in such apparently nonsensical phrases as "Red hus the beat trim doing going" and "Achtung swachtung"? And why would an Obie award-winning playwright move to New Jersey to write such a play in the first place? What led to the founding in 1978 of the San Francisco Poets Theatre by L=A=N=G=U=A=G=E writers, and why have those plays and performers been virtually ignored by critics despite the admitted centrality of performance to L=A=N=G=U=A=G=E writing's textual politics? Why would the renowned Yale Repertory Theatre produce in the 1990s the poetic, plotless plays of a theater newcomer twice in as many years--even when audiences walked out? What vision for the future of theater could possibly involve episodic drama with footnotes? In each example, part of the story is missing. This dissertation begins to fill in that gap.
Attending to often overlooked aspects of theater language, this dissertation examines theatrical performances that use poetic devices to intervene in narratives of cultural oppression, often by questioning the very suitability of narrative as a primary means of social exchange. While Gertrude Stein must be seen as a forerunner to contemporary poets' theater, chapter one argues that the Living Theatre's late 1950s and early 1960s anti-authoritarian theater demonstrates key alliances between poetry and theater at mid-century. The remaining chapters closely examine particular instances of poets' theater by Amiri Baraka (known equally as poet and playwright), Carla Harryman (associated with West Coast poetry), and Suzan-Lori Parks (a critically acclaimed playwright). These productions put poetic theater on the backs of tractors in Harlem streets, in open gallery spaces, and in more conventional black box and proscenium architectures, and each case develops the importance of performance contexts and production histories in determining plays' cultural effects.
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Aiello, Traoré Flavia. "Continuitiy and change in Zanzibari Taarab performance and poetry." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91009.
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Taarab in contemporary Zanzibar currently experiences great changes since the Nineties with the emerging and growing success of modern taarab. This has shocked the fans of the traditional style (taarab asilia) with musical and instrumental innovations, including powerful amplifiers and more danceable rhythms, but also textual innovations, using in their songs, commonly called mipasho, a sort of language and poetical imagery very open and non-disguised (Khamis 2002: 200). The perception of a split between the two musical and poetical styles is widely shared among the artists and fans of traditional taarab, but it actually tends to simplify the dynamics of continuity and change of this art deeply rooted within the social and political life of Zanzibar islands.
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Ferreira, Annemari. "The politics of performance in Viking Age skaldic poetry." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:1aa55225-8e44-4fea-a9ff-55f72209e590.
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This thesis examines the political functions of the performance of skaldic poetry during the Viking Age. It aims to establish the vital role that skaldic verse plays in the establishment and maintenance of power, as well as the importance of skaldic performance in the negotiation of that power in the inter-community relations between various courts both within and outside of Viking Age Scandinavia. The first chapter provides a contextual understanding of Viking Age power structures by considering the central ideological constructs surrounding the concept of óðal (ancestral property). Óðal-derived power, it will be shown, is based on ruler-presence (which extends to ancestral presence) in the landscape, which is perceived as a crucial element in the legitimisation of authority and power. My second chapter will consider the political significance of skaldic performance within the context of ruler itinerancy, which develops in response to political practices based on the importance of óðal-derived legitimacy. Of particular importance in this respect, will be the use of 'presencing' proper- and praise-names in skaldic poetry that effect both spatial and temporal itinerancies in a highly distributable format. My third chapter will establish the representational features of skaldic performance and elaborate on the definition of Performance not only as action (in the Austinian sense), but also as a type of action that is defined by its artifice, its temporal continuity and its emergent dialogism. This will provide the theoretical context for my fourth and final chapter which will aim to examine the employment of skaldic Performance in Viking Age diplomatic praxes. Here the phenomenologically perceived 'binding' of the Self through the dialogic rhythmicity that arises out of skaldic ambiguity and crypticism will be of central importance.
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Aiello, Traoré Flavia. "Continuitiy and change in Zanzibari Taarab performance and poetry." Swahili Forum 11 (2004) S. 75-81, 2004. https://ul.qucosa.de/id/qucosa%3A11490.
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Taarab in contemporary Zanzibar currently experiences great changes since the Nineties with the emerging and growing success of modern taarab. This has shocked the fans of the traditional style (taarab asilia) with musical and instrumental innovations, including powerful amplifiers and more danceable rhythms, but also textual innovations, using in their songs, commonly called mipasho, a sort of language and poetical imagery very open and non-disguised (Khamis 2002: 200). The perception of a split between the two musical and poetical styles is widely shared among the artists and fans of traditional taarab, but it actually tends to simplify the dynamics of continuity and change of this art deeply rooted within the social and political life of Zanzibar islands.
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Borstlap, Mari. "Poësie performances : ‘n ondersoek na die moontlikhede vir poësie performance." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20064.
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Thesis (MDram)--Stellenbosch University, 2012<br>ENGLISH ABSTRACT: Poetry performance as a universal phenomenon is a performing art form. The aim of
this study is to explore the diverse nature of this art form.
The different types are investigated according to their nature and the reasons
provided as motivation for the way in which these types are presented. This study
focuses on the following types: poetry found in ritual, poetry readings, poetry recitals,
poetry as part of word art (woordkuns), sung poetry, the verse drama and drama’s
based on poetry.
Under each of these categories relevant examples of each type are discussed. A
background study which is primarily focused on a brief overview of the history of
poetry performance in relation to its origin and development serves as an
introduction and foundation for the study.
Hereupon the different types of poetry performances, with relevant and
contemporary variations as examples, are being compared to each other with the
aim to elucidate the main similarities as well as differences between these examples.
As part of the research of poetry performance, a practical project exploring the
specific nature of dramas based on poetry was executed. This drama, called
Ontslape, shares various comparisons as well as differences with other examples of
contemporary drama’s based on poetry. It also shares similarities with word art
(woordkuns).
Although it is possible to distinguish between certain types of poetry performance, it
however also appears that some types overlap in more than one way and therefore
the conclusion can be made that poetry performance as a phenomenon consists of
various possibilities.<br>AFRIKAANSE OPSOMMING: Poësie performance as universiële verskynsel is ‘n uitvoerende kunsvorm. In hierdie
studie word die diversiteit van die kunsvorm ondersoek. Die onderskeie tipes word
ondersoek na aanleiding van die aard en doel van die aanbieding. Die studie fokus
op die volgende tipes: poësie in rituele verband, poësie in voorlesing, poësie en
voordrag, poësie as deel van woordkuns, poësie in sangvorm, die versdrama en
poësie gebasseerde drama’s. Onder elk van hierdie afdelings word relevante
voorbeelde van elke tipe breedvoerig bespreek. ‘n Agtergrondstudie wat hoofsaaklik
fokus op ‘n historiese oorsig met betrekking tot die oorsprong en ontwikkeling van
poësie performance dien as basis vir en inleiding tot die studie.
Hierop word onderskeie tipes poësie performance met relevante en kontemporêre
voorbeelde en variasies belig met die doel om die ooreenkomste en verskille tussen
tipes en voorbeelde uit te lig. As deel van die verkenning van poësie performances is
‘n praktiese projek uitgevoer wat by nader ondersoek ‘n voorbeeld van ‘n poësie
gebasseerde drama is. Hierdie drama, getiteld Ontslape, toon verskille en
ooreenkomste met ander kontemporêre poësie gebasseerde drama’s. Dit toon ook
ooreenkomste met woordkuns. Alhoewel sekere tipes poësie performances duidelik
van ander geskei kan word, blyk dit dus dat sekere tipes met mekaar oorvleuel en
daar word dus gevolglik tot die konklusie gekom dat poësie performance as
verskynsel oor ‘n legio aantal moontlikhede beskik.
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Sheppard, Victoria. "Contesting voices : authenticity, performance and identity in contemporary British poetry." Thesis, University of Southampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438041.
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Schmid, Julie Marie. "Performance, poetics, and place: public poetry as a community art." Diss., University of Iowa, 2000. https://ir.uiowa.edu/etd/189.
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This dissertation refuses the assumption that poetry is a dying art form. In this study, I focus on poets Marc Smith, David Hernández, Patricia Smith, and Bob Holman. I place the work of these four poets within the context of the contemporary performance poetry movement and argue that from their position on stage, in the recording studio, or in front of the camera, they use the performance to forge bonds across racial, ethnic, class, and gender divides. Throughout this study, I trace the evolution of the contemporary performance poetry movement from the local to the national, the embodied to the virtual. I combine original research on public poetries such as the poetry slam, the poetry-music ensemble, and video-poetry and synthesize a variety of critical approaches, including cultural studies, postcolonial theory, and ethnomusicology. I analyze specific elements of the performance--the voice, music, the body on stage, and the dialogic relationship betwee performer and audience--and discuss how these poets use the poetry event to articulate a poetry-community-in-the-making. Throughout this study, I argue that these poetry events demand our active engagement with the performance and use emergent technologies to document and analyze this poetry community. As such, "Performance" ultimately demands that we not only rethink the relationship between these poets and their communities, but that we rethink the place of poetry in contemporary American culture.
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Randall, D'Arcy Clare. ""Adam and his mother" : maternal performance in late twentieth-century American women's poetry /." Digital version:, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008425.
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Walker, Joanna Sara. "Nancy Spero : An Encounter in Three Parts- Performance, Poetry and Dance." Thesis, University College London (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499230.
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Madden, P. S. "The Seamus Heaney Centre digital archive : the public performance of poetry." Thesis, Queen's University Belfast, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546384.
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Hokama, Rhema. "Poetry, Desire, and Devotional Performance From Shakespeare to Milton, 1609-1667." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:23845451.
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Poetry, Desire, and Devotional Performance from Shakespeare to Milton, 1609-1667 documents and analyzes the ways post-Reformation devotional and worship practices inflected early modern English poetic conceptions of erotic desire and intimacy. My study focuses on two specific Reformation religious developments—the official Anglican ceremonialism of the state church and the popular Reformed predestinarianism—each of which enjoyed a widespread following during the roughly sixty years bracketed by the lives of Shakespeare and Milton. While religious historians often treat state-sanctioned worship and popular divinity as contradictory or antagonistic, I demonstrate that both cultural arenas reveal one important commonality: each sought to prioritize the body as the most important means for externally verifying inner devotional affect.
Whether sanctioned by the state church or only informally practiced, post-Reformation English devotional practices embodied the seventeenth-century’s deep suspicion of outward signs of inner affect—one that that coexisted with an equally powerful impulse to venerate those very outward markers of grace. In a religious culture that regarded outward performance as devotionally suspect, the body and the senses nevertheless remained vital to the way individuals could outwardly demonstrate and interpret their inward affect.
I maintain that outward devotional performance did more than provide the material and external scaffolding by which individuals could conceptualize their relationship with God. Moreover, it provided early modern thinkers and poets with a lexicon and a conceptual apparatus for describing and interpreting devotional intention and access within the context of a wide range of earthly entanglements and fleshly negotiations. Most significantly, the religious developments of the English Reformation informed the way poets conceptualized access within decidedly secular, earthly, and erotic relationships—shaping the way English men and women read and interpreted the impulses and desires of both others and themselves. My project examines the role of the body—desired and desiring—at the crossroads of both erotic and devotional life in the poetry of Shakespeare, Donne, Greville, Herrick, and Milton. In these poems, God, dead wives, standoffish mistresses, exes, whores, homoerotic boy lovers, and even Satan play distinct parts as both antagonists and objects of longing.
Within the space of a few decades of the early seventeenth-century century, the absolutism that characterized nearly every aspect of English religious life opened possibilities for thinking about the role of the body in matters both spiritual and secular that emerged not in opposition to, but as a direct result of, the limitations placed on the ways individuals could conceive of and express their most powerful desires. These articulations of devotional longing—whether for earthly lovers or for God—were enabled precisely by the spiritual and psychological constraints posed by the ever tightening restrictions on public worship and prayer.<br>English
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Lamb, Justin. "Escape Artist." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2621.
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This poetry manuscript explores themes of family and addiction, education and New Orleans, and fear and escape in the span of three parts. Its preface examines the poet’s background and influences, his relationship with performance and humor, and the levity he hopes to create in his work.
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Orlová, Jana. "Černá žena." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232423.
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Kalmbach, Courtney Nicole Kalmbach. "Vamp Sans Amp." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1470248833.
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Bird, Noele. "I'm dangerous with sound, a performance project of sound, poetry and movement." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0020/MQ57910.pdf.
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Barry, Frances. "How to do things with poetry : notions of performance in language writing." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426190.
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Lindeman, Harriet. "Spoken Resistance: Slam Poetry Performance as a Diasporic Response to Discursive Violence." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1032.
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This project foregrounds the work and perspectives of spoken word poets of Middle Eastern and North African (MENA) descent in connection to the NYC slam poetry scene. I trace the parallel racialization of MENA diaspora communities in the US and the development of slam poetry as a space for raising “othered” voices. Through ethnographic analysis, I consider slam poetry as a site of intersectional struggle, arguing that the engagement of MENA diaspora poets with this scene reveals the ways in which poetry both constitutes resistance to discursive violence through representation and works to mobilize audiences against tangible structures of violence.
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Demir, Aylin. "Oral Poetry And Weeping In The Case Of Dersimli Women." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612858/index.pdf.
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This thesis analyzes the issue of performing self in the genres of oral poetry and weeping, which are performed by Dersimli women in the course of their everyday life practices. This study focuses on the case of Dersim (Tunceli) which is located in the east part of Turkey where Zazaki-speaking and Kurdish-speaking Alevi people constitute the majority of the population. I deal with these performances as repetitive actions, occurring in the course of everyday life. I focus on the narratives in the songs and issues related to giving voice with respect to acceptability, respectability, and experience. The personal narratives or social issues presented with these genres include a range of topics like dissatisfaction about life, a deceased child, loneliness, poverty, forced migration from the villages in the mid 1990s, regret of a woman for her marriage and old love stories. I found that performing those genres as repetitive actions in the course of everyday life practices has an important role both in the construction and the positioning of self. This study deals with songs as processes rather than products. Finally, in these processes, performers express their experiences, emotions, and ideas which are not narrated or spoken, or have limited expression, in the social interaction of everyday life. Although weeping practices usually reproduce expected gender roles however, the saying/singing practices as a whole may create the possibility of agency and certain spaces for resistance and contribute to the visibility of women in the community.
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Manning, Joanne Melissa. "Subversive voices a study of text and performance in the interpretation and realisation of experimental poetry /." Phd thesis, Australia : Macquarie University, 2005. http://hdl.handle.net/1959.14/47260.
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"March 2002".<br>Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2005.<br>Bibliography: p. 324-344.<br>Introduction: framing the texts -- Subversive voices -- Formulating a theoretical position -- Performance: a complete process -- On second thoughts: rewriting contemporary culture -- Performing On second thoghts -- Dialogic voices: Amanda Stewart and # -- Performing # -- Voices of desire: Ania Walwicz and Soft -- Performing Soft -- Marginal voices: Hazel Smith and Poet without language -- Performing Poet without language -- Conclusions: interpreting subversive voices.<br>This study considers the text and performance of four Australian experimental poets, Chris Mann, Amanda Stewart, Ania Walwicz and Hazel Smith. My aim is to demonstrate how the genre of experimental poetry uses language and performance in such a way as to rewrite existing dominant discourses. The challenge as an analyst is to find ways into such reflexive texts that use intertextual resources of critical theory as their subject matter. The perspective employed here engages with the theories posited by the texts and allows for a theoretical position removed from the structure and theories informing them. -- The study is organised in two parts. First, I consider the subversiveness of the genre drawing on Raymond Williams' notion of the emergent, followed by a discussion of important predecessors in the field of experimentation. I then outline the particular method of enquiry and theoretical framework used here to analyse the meaning potential of such works. Systemic Functional Grammar and Multimodal Discourse theory are discussed and their particular application in this study. The second part of the thesis applies these theories to the experimental works. -- I begin explaining my theoretical position by considering the weakness of the commonly used theories of Kristeva's 'semiotic' to analyse such works. I found Systemic Functional Grammar, as developed by Michael Halliday and then Terry Threadgold, to be a useful tool for elucidating the meaning potential behind the fractured grammars in the texts. It also provided a way of conceptualising enunciative positions and the way intertextual resources might be rewritten. From within this linguistic framework I was able to discern subversive messages from the intertwined theories ranging across the texts from Marxism, structuralism, psychoanalysis, feminism and multiculturalism. -- The performance posed another challenge as the improvised spoken texts, uniquely performed by these artists, create a subversive listening position for the audience, which engages with both the words and sounds for their sonic and semantic qualities. I consider many ways of addressing the role and behaviour of the performer and listener as well as the performance as a creative process, emerging from the two. I engage the model put forward by Kress and Van Leeuwen for analysis of multimodal texts which provides a functional approach to meaning potential in the performance and its varying layers. Within this model, I found prosody most useful for its ability to notate intonation, key, disjuncture and stress, exposing the dialogic voices and the relationship between semantics and sound in the performances. This form of communication is equivalent to the indexical entailment of sound and music which forms the basis for communication between performers, and between performer and audience. The dialogic situation is enhanced by both prosody and indexical entailment providing possible meanings. I use some traditional musicological analysis but my aim is to move away from such formalistic descriptions to consider culturally inscribed sounds and their interpretation using a functional model. -- Throughout, the complexity of experimental performance is evident but the theoretical frame used here might be applied to other works of this nature as a means of further understanding the semiotic web in subversive texts.<br>Mode of access: World Wide Web.<br>344 p., music
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De, Simone Cristina. "Proféractions ! : poésie en action à Paris (1946-1969)." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100089.
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Cette étude propose une histoire des pratiques qui, à Paris, entre 1946 et 1969, ont lié poésie et performance et fait de la profération leur champ d’investigation principal. À partir de l’observation des manifestations publiques d’Antonin Artaud en 1946-47, de l’irruption en ces mêmes années du mouvement lettriste à Saint-Germain-des-Prés, de l’arrivée de la Beat Generation à la fin des années 1950, et des différents événements organisés par Jean-Jacques Lebel, Jean-Clarence Lambert et Henri Chopin durant les années 1960, cette thèse analyse les pratiques qui ont agité le champ artistique durant deux décennies et préparé l’imaginaire et le terrain revendicatif de Mai 68.En reprenant le flambeau des avant-gardes du début du XXe siècle, ces expériences, traversées par le faisceau de problématiques et de propositions ouvert par Artaud après guerre, aspirent à une poésie définie comme action et cherchent à relier art, vie et politique à travers une seule et même forme d’engagement. Ouvrant plusieurs chantiers qui prennent appui sur autant de refus : celui du livre, celui du spectacle, celui du langage comme propagande politique et publicitaire, elles placent l’ « engagement physique » du poète, à la fois auteur et performeur, au centre de leurs préoccupations et mettent en place un vaste champ d’expérimentations, notamment à travers l’utilisation du magnétophone qui marque la naissance de la « poésie sonore », avec les cut-ups de Brion Gysin et William S. Burroughs, les audiopoèmes de Henri Chopin, les mégapneumes de Gil J Wolman, les crirythmes de François Dufrêne, les poèmes-partitions de Bernard Heidsieck.En retraçant les trajectoires mais aussi leur croisement et en analysant les prises de position et les différentes stratégies, ce travail observe et questionne l’émergence et l’évolution de la figure du « poète-performeur », son savoir-faire scénique et ses aspirations ; il s’attache à des pratiques – encore méconnues (voire évincées) du domaine des Études théâtrales – qui continuent à irriguer de leur inventivité la scène performative et théâtrale d’aujourd’hui<br>This study examines the history of practices in Paris between 1946 and 1969 that brought poetry and performance together and made proféraction their main field of investigation. Beginning with observations on the public performances of Antonin Artaud in 1946-47, and the sudden appearance in those same years of the Lettrist movement, continuing with the arrival of the Beat Generation at the end of the 1950’s, followed by the various events organised by Jean-Jacques Lebel, Jean-Clarence Lambert and Henri Chopin in the 1960’s, this work analyses practices that stirred the world of the arts over two decades and influenced the collective imagination, sowing the seeds of the social activism of May 68.By taking up the torch of early 20th Century avant-gardistes, these endeavours, illumined by the array of questions and proposals that Artaud ignited after the war, sought to create poetry as action and to link art, life and politics in a single form of engagement.Work went forward in several fields, often based on rejection of the conventional: in regard to books, to performing arts, to language as a tool for propaganda and advertising. The “physical engagement” of the poet, both author and performer, became the centre of their preoccupations and created a wide open space for experimentation, in particular: through the use of the tape recorder, bringing about “sound poetry”, with Brion Gysin’s and William S. Burroughs’ cut-ups; Henri Chopin’s audiopoèmes; the mégapneumes of Gil J Wolman; the crirythmes of François Dufrêne; and Bernard Heidsieck’s poèmes-partitions.By marking out the different trajectories and the points where they intersect, by analysing the statements and positions and different strategies, this work observes and questions the emergence and evolution of the figure of the “poet-performer”, his theatrical skills and aspirations; it sheds new light on practices – as yet little recognized by (even banished from) the field of Theatre Studies – that continue to provide a source of innovative inspiration to the world of performance and theatre today
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Cardoso, Glaucio Varella. "Poesia lida, poesia falada: poesia, performance e recepção: aspectos teóricos e práticos." Universidade do Estado do Rio de Janeiro, 2009. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1067.
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O presente trabalho tem como foco analisar o caráter de oralidade presente na poesia, demonstrando com o mesmo é apreendido mediante os atos de performance do texto poético. Buscou-se apontar que o recalque do aspecto oral da poesia em face da escrita tem provocado uma interpretação incompleta das manifestações poéticas em todas as culturas. A falta de estudos sobre o tema gera uma carência de nomenclaturas que buscou-se sanar mediante o estabelecimento de uma tipologia capaz de abranger, senão em totalidade, ao menos a maior parte dos atos de performance poética. Dado o caráter efêmero da performance, fez-se necessário que o texto se estabelecesse principalmente sobre gravações de poesias bem como da observação empírica de performances e a busca da descrição e análise dos efeitos que provocam nos espectadores, apontando assim para a recepção do texto poético em performance<br>The present work focuses the oral character present in poetry, trying to show how it manifests itself in the acts of performance of the poetic text. I have sought to point out that the repression of the oral aspect of poetry in face of its written dimension has brought an incomplete interpretation of the poetical manifestations in all cultures. The lack of studies concerning this topic creates an absence of conceptualization that I strove to solve through the creation of a tipology that might include at least some of the major aspects of the acts of poetical performance. Because of the ephemeral character of the performance act, this study relies on the description and analysis of playback recordings as well as on the empirical observation of performances, searching to demonstrate the effects that they induce on the audience, as part of a better undestanding of the process of reception of the poetic text
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Kyser, Tiffany S. "Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.
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Thesis (M.A.)--Indiana University, 2010.<br>Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).
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Hussain, Nasser. "Embodiment in contemporary North American performance poetry from David Antin to Christian Bök". Thesis, University of York, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445468.
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Harden, Sarah Joanne. "Self-referential poetics : embedded song and the performance of poetry in Greek literature." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:69380265-1014-4965-bc6a-32dbc244721a.
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This thesis is a study of embedded song in ancient Greek narrative poetry. The introduction defines the terminology (embedded song is defined as the depiction of the performance of a poem within a larger poem, such as the songs of Demodocus in Homer’s Odyssey) and sets the study in the context of recent narratological work done by scholars of Classical literature. This section of the thesis also contains a brief discussion of embedded song in the Homeric epics, which will form the background of all later examples of the motif. Chapter 1 deals with embedded song in the Homeric Hymns and Hesiod’s Theogony. It is argued that the occurrence of embedded song across these poems indicates that the motif is a traditional feature of early Greek hexameter poetry, while the possibility of “inter-textual” allusion between these poems is considered, but finally dismissed. Chapter 2 focuses on Pindar, Bacchylides and Corinna, and explores how lyric poets use this motif in the various sub-genres of Greek lyric. In epinician poetry, it is argued that embedded song is used as a strategy of praise and also to boost the authority of the poet-narrator by association with the embedded performers, who can be seen to have in each case a particular source of authority distinct from that of the poet narrator. Chapter 3 considers the Hellenistic poets Apollonius Rhodius and Theocritus, and how their interest in depicting oral poetry meshes with their identity as literate and literary poets. Appendix I gives a list of all the examples of embedded song I have found in Greek poetry. Appendix II gives an account of Pindar’s Hymn to Zeus, a highly fragmentary poem which almost certainly contained an embedded song, analysing this as an example of the difficulties thrown up by lyric fragments for a study of embedded narratives.
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Hassert, Joseph. "The Collaborative Performance of Open Mic Poetry and the Art of Making Do." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/820.
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Open mic poetry events are representative examples of a widespread and socially significant performance phenomenon--the relational and dialogic art and activism of the sustained encounter as a demonstration of the possibility for new social relations. Open mic performances center the pleasure of creating and sharing art and relationships in a manner that works against the value systems of capitalistic exchange and enterprise. I conduct an autoethnographic study of the Transpoetic Playground--a reoccurring open mic poetry event in Carbondale, Illinois. This study mixes performative writing, poetry, and personal narrative with the ethnographic methods of participation observation and interviewing in order to tell a story of an amateur performance poetry community and what it can teach about how to resist the constraints of contemporary socio-communicative relations.
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Gräbner, Cornelia Marianne Else. "Off the page and off the stage: the performance of poetry and its public function." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2007. http://dare.uva.nl/document/49097.
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Gregory, Helen Fiona. "Texts in performance : identity, interaction and influence in U.K. and U.S. poetry slam discourses." Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/84703.
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This thesis aims to provide a close analysis of poetry slam in the United Kingdom and United States, using the tools of ethnography and discourse analysis to produce an in-depth account, which is sensitive to the discursively constructed, situated meanings of slam participants. The aim is to explore how slam is understood by its participants, producing a partial ethnography, rather than a definitive history, defence or critique of slam. The thesis is based predominantly on research conducted in four key sites (Bristol and London in the U.K. and Chicago and New York in the U.S.), and considers how slam has been reconstructed in different geographical and social contexts. In addition, this study seeks to highlight issues around: the ways in which artists understand art worlds and their positions within them; the multiple and complex power relations with which art world participants engage; the transient, enduring and virtual communities which art world participants form; the local, translocal and transnational networks which connect these communities and individuals; and the interactions between new/avant-garde and established/dominant art worlds. It is hoped that this analysis will enrich substantially the existing meagre body of research into poetry slam, providing valuable theoretical contributions to the study of art worlds and the social construction of self and relationships. Beyond this, the thesis aims to elucidate a social scientific paradigm which links micro level analyses with macro level social structures and processes, by allying work from multiple theoretical perspectives including those of interactionism, Antonio Gramsci, Pierre Bourdieu and discourse analysis. This paradigm is mobilised to illuminate how slam participants actively construct their identities and negotiate the complex power relations which structure their everyday interactions. In line with the poetic focus of this research, each analytic chapter of this thesis concludes with a haiku. I begin with this thought: Power relations/Are complex navigations/Through interaction.
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Pieterse, Annel. "Language limits : the dissolution of the lyric subject in experimental print and performance poetry." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71855.
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Thesis (PhD)--Stellenbosch University, 2012.<br>ENGLISH ABSTRACT: In this thesis, I undertake an extensive overview of a range of language activities that foreground the materiality of language, and that require an active reader oriented towards the text as a producer, rather than a consumer, of meaning. To this end, performance, as a function of both orality and print texts, forms an important focus for my argument. I am particularly interested in the effect that the disruption of language has on the position of the subject in language, especially in terms of the dialogic exchange between local and global subject positions. Poetry is a language activity that requires a particular attention to form and meaning, and that is licensed to activate and exploit the materiality of language. For this reason, I have focused on the work of a selection of North American poets, the Language poets. These poets are primarily concerned with the performative possibilities of language as it appears in print media. I juxtapose these language activities with those of a selection of contemporary South African poets whose work is marked by the influence of oral forms, and reveals telling interplays between media. All these poets are preoccupied with the ways in which the sign might be disrupted.
In my discussion of the work of the Language poets, I consider how examples of their print poetics present the reader with language fragments, arranged according to non-syntactic principles. Confronted by the lack of an individuated lyric subject around whom these fragments might cohere, the reader is obliged to make his/her own connections between words, sounds and phrases.
Similarly, in the work of the performance poets, I identify several aspects in the poetry that trouble a transparent transmission of expression, and instead require the poetry to be read as an interrogation of the constitution of the subject. Here, the ―I‖ fleetingly occupies multiple, shifting subject positions, and the poetic interplay between media and language tends towards a continuous destabilising of the poetic self.
Poets and performers are, to some extent, licensed to experiment with language in ways that render it opaque. Because the language activities of poets and performers are generally accommodated within the order of symbolic or metaphoric language, their experimentation with non-communicative excesses can be understood as part of their framework. However, in situations where ―communicative‖ language is expected, the order of literal or forensic language cannot accommodate seemingly non-communicative excesses that appear to render the text opaque.
Ultimately, I am concerned with exploring the manner in which attention to the materiality of language might open up alternative understandings of language, subjectivity and representation in South African public discourse. My conclusion therefore considers the consequences when the issues opened up by the poetry – questions of self and subject, authority and representation – are translated into forensic frameworks and testimonial discourse.<br>AFRIKAANSE OPSOMMING: My proefskrif bied ‘n breedvoerige oorsig van ‘n reeks taal-aktiwiteite wat die materialiteit van taal sigbaar maak. Hierdie taal-aktiwiteite skep tekste wat die leser/kyker noop om as vervaardiger, eerder as verbruiker, van betekenis in ‘n aktiewe verhouding met die teks te tree. Die performatiewe funksie van beide gesproke sowel as gedrukte taal vorm dus die hooffokus van my argument.
Ek stel veral belang in die effek wat onderbrekings en versteurings in taal op die subjek van taal uitoefen, en hoe hierdie prosesse die die dialogiese verhouding tussen lokale en globale subjek-posisies beïnvloed. Poëtiese taal-aktiwiteite word gekenmerk deur ‘n fokus op vorm en die verhouding tussen vorm en inhoud. Terwyl die meeste taalpraktyke taaldeursigtigheid vereis ter wille van direkte kommunikasie, het poëtiese taal tot ‘n mate die vryheid om die materaliteit van taal te gebruik en te ontgin. Om hierdie rede fokus ek selektief op die werk van ‘n groep Noord-Amerikaanse digters, die sogenaamde ―Language poets‖. Hierdie digters is hoofsaaklik met die performatiewe moontlikhede van gedrukte taal bemoeid. Voorts word hierdie taal-aktiwiteite met ‘n seleksie kontemporêre Suid-Afrikaanse digters se werk vergelyk, wat gekenmerk word deur die invloed van gesproke taalvorms wat met ‘n verskeidenhed media in wisselwerking gestel word. Al hierdie digters is geïnteresseerd in die maniere waarop die inherente onstabiliteit van linguistiese aanduiers ontgin kan word.
In my bespreking van die werk van die Language poets ondersoek ek voorbeelde van hul gedrukte digkuns wat die leser voor taalfragmente te staan bring wat nie volgens die gewone reëls van sintaks georganiseer is nie. Die gebrek aan ‘n geïndividualiseerde liriese subjek, waarom hierdie fragmente ‘n samehangendheid sou kon kry, noop die leser om haar eie verbindings tussen woorde, klanke en frases te maak.
Op ‘n soortgelyke wyse identifiseer ek verskeie aspekte wat die deursigtige versending van taaluitinge in die werk van sekere Suid-Afrikanse performance poets belemmer. Hierdie gedigte kan eerder gelees word as ‘n interrogasie van die proses waardeur die samestelling van die subjek in taal geskied. In hierdie gedigte bewoon die ―ek‖ vlietend ‘n verskeidenheid verskuiwende subjek-posisies. Die wisselwerking van verskillende media dra ook by tot die vermenigvuldiging van subjek-posisies, en loop uit op ‘n performatiewe uitbeelding van die destabilisering van die digterlike ―self.‖
Digters en performers is tot ‘n mate vry om met die vertroebelingsmoontlikhede van taal te eksperimenteer. Omdat die taal-aktiwiteite van digters en performers gewoonlik binne die orde van simboliese of metaforiese taal val, kan hul eksperimentering met die nie-kommunikatiewe oormaat van taal binne hierdie raamwerk verstaan word. Hierdie oormaat kan egter nie binne die orde van letterlike of forensiese taal geakkommodeer word nie.
Ten slotte voer ek aan dat ‘n fokus op die materialiteit van taal alternatiewe verstaansraamwerke moontlik maak, waardeur ons begrip van die verhouding tussen taal, subjektiwiteit en representasie in die Suid-Afrikaanse publieke diskoers verbreed kan word. In my slothoofstuk oorweeg ek wat gebeur as die kwessies wat deur die bogenoemde performatiewe taal-aktiwiteite opgeroep word – vrae rondom die self en die subjek, outoriteit en representasie – binne ‘n forensiese raamwerk na die diskoers van getuienis oorgedra word
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Curtis, Lauren. "On with the Dance! Imagining the Chorus in Augustan Poetry." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10991.
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This dissertation investigates how Augustan poetry imagines, redefines and reconfigures the idea of the chorus. It argues that the chorus, a quintessential marker of Greek culture, was translated and transformed into a peculiarly Roman phenomenon whereby poets invented their relationship with an imagined past and implicated it in the present. Augustan poets, I suggest, created a sustained and intensely intertextual choral poetics that played into contemporary poetic debates about the power of writing versus song and the complexity of responding to performance culture through multiple layers of written tradition. Focusing in particular on Virgil’s Aeneid, Propertius’ Elegies and Horace’s Odes, the dissertation uses a series of case studies to trace the role played by scenes of embedded choral song and dance in Augustan poetics. The scene is set by comparing how a range of texts respond differently to a single fundamental aspect of Greek choral culture—the figure of the chorus leader—and by establishing Catullus as an important predecessor to Augustan choral discourse. The dissertation then turns to explore how choral language and imagery become involved in some of the central issues of Augustan poetry: Latin love poetry’s construction of female desirability and male anxiety, the creation of poetic authority in Augustan lyric and elegy, and the search for the origins of Roman ritual in Virgil’s Aeneid. Finally, these embedded scenes are juxtaposed with Horace’s Carmen Saeculare, a text composed, remarkably, for choral performance on the Roman civic stage, which is shown to activate the choral metaphor that had been created by the Latin literary imagination. By demonstrating Augustan poetry’s engagement with this aspect of Greek performance culture, the study sheds new light on the relationship between Greek and Roman poetry, shifting the focus from the reinvention of Greek genres and the study of particular sites of allusion towards an understanding of the complex dynamics of reception and reconfiguration at work in these poets’ reappropriation of both a literary and cultural idea.<br>The Classics
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Holmquest, Heather. "Structure, Musical Forces, and Musica Ficta in Fourteenth-Century Monophonic Songs." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18703.
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This study provides insight into the compositional features of the monophonic ballata, a genre developed in the early to mid-fourteenth century in northern Italy. In analyzing the formal structure, melodic contour, application of musica ficta, and relationship between text and melody, I suggest ways in which performers of this repertoire can highlight the exceptional qualities of this music while remaining rooted in a historically-informed tradition of early music performance practice. Using principles of Schenkerian ideas of prolongation, Salzerian approaches to constructing voice-leading analyses of early music, and Steve Larson's theory of musical forces as criteria for well-formed melodies, I created a method that shows every note as structural or ornamental at every given level.
The use of these theoretical approaches serves to highlight what about this music is compelling and what can be brought out as 'familiar' in a piece, what repeats, and what connects sections and how. I conclude that counterpoint is behind the organization of these works at the structural level, even as monophonic songs. I acknowledge that there are features we could construe as "tonal," but that information is only useful to a performer familiar with tonal elements, and it is therefore only one of many layers of understanding that should be accessed by the modern performer.
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Acker, Tristan D. "CONFESSIONS OF A HIP-HOP HIPPIE." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/60.
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This Statement of Purpose does not give a history of hip-hop or hip-hop poetry but rather how this particular poet fits into the current phase of hip-hop and performance poetry. In it, I discuss and explain the new pro-working class hip-hop performance poetic. This includes extensive discussion of how rap poetry conveys meaning through sound. Also discussed is the socioeconomic context for the suburban southwestern topics found in the manuscript. This statement is a parallel piece to the manuscript itself in that it explains a brown kid from San Bernardino’s journey of connecting words and music for purposes of personal expression and potentially the betterment of his community. This statement also discusses my aesthetic beliefs and preferences as a sound poet with a background in performance and music.
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Schroeder, Angela. "Susan Botti's Cosmosis: A Conductor's Analysis with Performance Considerations." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3617/.
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In 2005, composer Susan Botti won the coveted Prix de Rome in musical composition and spent eleven months in residency at the American Academy in Rome. That same year, the University of Michigan Wind Symphony, under the direction of Michael Haithcock, premiered her exciting new work Cosmosis at the College Band Directors National Association Conference in New York City. The bi-annual conference is a venue for the premiere of new works for wind ensembles and bands, and the 2005 conference saw the world premiere of nine works for winds and percussion, many of which were performed in the legendary Carnegie Hall. What made the debut performance of Cosmosis exciting and notable was the composer's own appearance as soprano soloist, and the inclusion of a chorus of women augmenting the ensemble of winds and percussion. Such a combination of elements is unique, and created a fresh and powerful sonority. Botti's inventive approach to composition has expanded the repertoire for both women's chorus and wind ensemble with this distinctive work. This study is intended to serve as a guide to the study and performance of Cosmosis. The information provides a detailed examination of the work from its conception to its premiere performance. The work is based on the poetry of American poetess May Swenson, and Botti's interpretation of the poetry in music unveils interesting parallels between these artistic disciplines. The research provides a contextual framework from which the conductor may begin study of the work, and which may lead to an informed performance of the work.
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Tomba, Diogo Amevi Christine Cerena. "Étude d'un genre de la littérature orale : la devise (kûmbù) chez les Punu du Gabon." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015INAL0022/document.
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Cette recherche est axée sur la langue et la littérature orale des Punu du sud du Gabon. Elle explore le champ littéraire punu et plus particulièrement la devise qui n’a que très rarement été étudiée. Définie comme une formule de louange que l’individu déclame pour s’identifier, elle lui permet de se distinguer et d’exprimer sa vision du monde. Cette thèse se divise en cinq chapitres et dresse un essai théorique sur ce genre dans la société. En prenant la notion de performance comme critère définitoire, elle met en évidence les propriétés discursives ainsi que les fonctions de la devise. A cela s’ajoute un corpus inédit de devises claniques et individuelles, transcrit, traduit et commenté<br>This research study focuses on language and oral literature of the Punu people in the south of Gabon. The study explores the punu styles of literature in particular praise-poetry (devise), which has been, up to now, very rarely studied. Considered to be a form of praise by which an individual declaims his identity, praise-poetry allows an individual to stand out and express his vision of the world.This thesis is divided into five chapters which together provide a theoretical attempt of this literary genre in the society. Taking the notion of permanence as a defining criterion, the study highlights the discursive properties of praise-poetry and its functions. Added to this is a unique corpus of clan and individual praise poems, transcribed, translated and commented
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Goursaud, Bastien. "Du spoken word à la parole publique : inscrire la performance dans la poésie britannique contemporaine." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL132.
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Depuis les années 1980, la poésie britannique contemporaine se caractérise par l’émergence de voix minoritaires et la diversité des formes et des pratiques. Cette expansion de la carte poétique est souvent lue à l’aune de ce que Sean O’Brien a décrit comme une dérégulation, en référence aux changements politiques et sociaux qui ont affecté la société britannique depuis le thatchérisme. Cette thèse se propose d’examiner un facteur essentiel de ce phénomène, à savoir la centralité accrue d’une conception du poème comme parole publique. En s’appuyant sur un corpus de poètes présentant des voix minoritaires ou invisibilisées, à mi-chemin entre la poésie spoken word et d’autres pratiques de performance, elle souligne que le pluralisme poétique est le fruit d’une pluralisation du poème même. Le texte poétique se transforme sur d’autres médiums et d’autres formes artistiques (musiques populaires, cinéma, peinture), permettant un décentrement et une remise en question de toute forme de centralité. Le poème hors du livre devient un geste à la fois esthétique et politique. La figure publique du poète que construisent les œuvres est un jeu de masques qui tente de défaire les assignations, entre fiction et parole lyrique. Le poème comme parole publique problématise le rapport du corps au texte en performance, mais aussi la matérialité du poème sur la page. Ce faisant, il interroge donc nos modes de réception de la poésie contemporaine. De même, le rapport structurel de cette poésie à la présence d’une communauté durant la performance suppose d’envisager des figures du commun et de la parole collective malgré la multiplication, voire l’éclatement, du poème sur une pluralité de médiums<br>Since the 1980s, contemporary British poetry has been characterized by the emergence of minority voices and a diversity of forms and practices. That expansion of the poetic map is often read through what Sean O’Brien called a deregulation, in reference to the social and political changes which have influenced British society since Thatcherism. This thesis looks at a central aspect of that phenomenon: the development of a conception of the poem as public utterance. By focusing on a range of poets representing minority backgrounds or unheard voices and working across spoken word poetry and other types of performance poetry, it demonstrates that poetic diversity is the result of a pluralization of the poem itself. Poems are transformed by other mediums and by exchanges with other art forms (popular music, cinema, painting) which in turn questions hierarchies and dominant poetic forms. Poetry off the page becomes both an aesthetic and political experiment. The poet’s public figure constructed by the poems is an elusive mask which oscillates between fiction and lyrical poetry. The poem as public utterance interrogates the relationship of the body to the text in performance, as well as the materiality of the poem on the page. In so doing, it also questions the way contemporary poetry is received and discussed. Similarly, in spite of the multiplication or atomization of the poem on several mediums, the structural relationship of this type of poetry with the presence of a community in performance creates representations of the community and collective utterance
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Taylor, Helen Louise. "Adrian Henri and the Merseybeat movement : performance, poetry, and public in the Liverpool scene in the 1960s." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590669.
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The thesis focuses on the Merseybeat movement and its manifestations in Liverpool in the 19605, with particular emphasis on the work of Adrian Henri. The Merseybeat movement - centred upon Adrian Henri, Roger McGough, and Brian Patten - was a site-specific confluence of the alternative avant-garde and the British populist tradition of art, and deserves exploration as both a literary and a cultural phenomenon. The thesis argues that the dismissal of Merseybeat as 'pop poetry' has come from using the wrong critical tools: it is better viewed as a 'total art' movement, encompassing not only poetry but also visual art, music, comedy, happenings, and other forms of artistic expression. The thesis is primarily concerned with the performative and collaborative aspects of Merseybeat. As well as considering this particular movement in terms of oral performance and audience communication, this research also contributes to our understanding of the dissemination of this poetry - particularly how its audiences experienced live poetry alongside other artforms and media. I have used the term 'crossmedia' to refer to the way in which a piece can blend media and to explore how a piece can be performed in different ways to suit different occasions, appropriating elements from various artforms to create a unique performance instance. The thesis has been divided into five chapters in order to consider, first, the movement's origins (in the city of Liverpool) and suggested antecedents (in the American Beat scene), and second, its three most important facets: live readings, performances with music, and visual art practices. The work draws on literary geography, performance studies, and visual art theories, and I have also undertaken much new archival research and interviews with both performers and audience members in order to present a 'thick description' of not only the events but also the context in which they arose.
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AMARAL, LUIZ EDUARDO FRANCO DO. "THE VOICE OF BOATO: SPOKEN POETRY, PERFORMANCE AND COLLECTIVE EXPERIENCE IN THE 90S IN RIO DE JANEIRO." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30208@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>Etnografia afetiva do Boato, coletivo de artistas que atuou por onze anos no Rio de Janeiro. Partindo da poesia falada e estendendo sua atuação a diversas expressões artísticas, o Boato é caso original no cenário cultural carioca. Elemento importante na criação do CEP 20.000 – o Centro de Experimentação Poética do Rio de Janeiro, que desde 1990 realiza eventos em torno da poesia – o grupo praticou experimentações artísticas em diversas linguagens, tais como teatro, cinema, música, vídeo, dança e performance. A tese reconstrói a trajetória do Boato de maneira crítica, procurando repensá-la e ressignificá-la, compreender seu trânsito e sua produção no panorama cultural do Rio de Janeiro. A história do coletivo funciona como sistema irradiador das principais questões da pesquisa: a poesia falada, sua linhagem carioca, seus grupos históricos, a ocupação do espaço urbano, coletivos artísticos, experiência e criação coletiva, política e cultura, amizade, compartilhamento, performance. O autor, fundador e ex-integrante do grupo, apresenta um viés autoetnográfico e narrativo, incorporando ao texto diferentes dicções, entre elas a de tese oral.<br>The thesis presents an affective ethnography of Boato, a collective of artists who during eleven years performed in Rio de Janeiro, from 1989 to 2000. Starting out with spoken poetry and evolving to perform in a variety of artistic expressions and segments, the Boato group is an unique case in Rio de Janeiro s cultural scene. While playing a key role in the creation process of CEP 20000 - Poetical Experimentation Center of Rio de Janeiro, which has held poetry events since 1990, Boato extended their artistic experimentation to several languages, such as theater, film, music, video, dance and performance. This thesis reconstructs the history of Boato in a critical manner, trying to analyse it and find new meanings therein, the causes and consequences in Rio de Janeiro s cultural panorama. The history of the group punctuates main issues of the research: spoken poetry, its origins in Rio, its historical groups, occupation of public places, artistic collectives, collective experience and creation, politics and culture, performance, friendship and sharing. The author, a former founding member of Boato, presents a self-ethnographic outlook, introducing different dictions to the text, such as the concept of oral thesis.
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Meyer, Julianne. "Words Carried in with the Tide: Boundaries of Gender in FisherPoetry." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19723.
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The FisherPoets Gathering is an annual event where expressive art performed exposes the explicit and implicit gender dynamics of the occupation of commercial fishing. Through these performances, women tackle gender issues that bridge the gap between the fishing industry and the event. Through performance and interactions with fellow female FisherPoets, the women validate themselves as fishermen and comment on the behavior of their male colleagues. These performance-based expressive art forms enable them to address the fishing industry’s gender power dynamics and begin to make social change.
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Bacon, Julie Louise. "Recollecting the poetry and politics of archival spaces : an exploration of performance and installation art in the museum." Thesis, University of Ulster, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431003.
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Papantoniou, Nowak Stéphane. "Le livre. Dedans / Dehors. Autour des éditions Al Dante : la question du medium : Livre, transmédialité et intermédialité. Contemporanéité et avant-garde. Questions de création littéraire et artistique. L'édition comparée." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSEN002.
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Cette thèse se propose d’étudier des pratiques poétiques dans et hors du livre à partir de parcours de poètes « passés » par les éditions Al Dante. Il s’agissait de questionner en particulier la notion de « performance », souvent réduite à une dimension scénique. Ou encore l’idée d’avant-garde, trop souvent limitée à une histoire politique close. L’idée d’avant-garde n’apparaît plus comme principe de structuration du groupe, mais comme spectralité agissante, conduisant à mêler des enjeux politiques — critique des institutions, critique de la langue dominante, contestations des places assignées par la culture — avec des enjeux esthétiques. Il est donc question de traduction poétique comme actualisation de la situation politique, et de transmédiation.L’approche stylistique a été progressivement supplantée par une approche médiologique pour problématiser des pratiques hétérogènes. La spécificité de la maison d’édition Al Dante nous permet de replacer le livre dans un écosystème poétique plus général, où le livre n’est plus la seule finalité, mais la médiation entre un processus de création et des manifestations publiques. Aussi peut-on lire ce moment contemporain non seulement comme l’émergence de thématiques dominantes, mais aussi comme une mise en crise de la centralité du livre et de son économie. La pratique des éditions Al Dante nous a donc amenés à défendre une « théorie du geste éditorial » qui ne se réduit pas à la mise en page d’un manuscrit, la production d’un livre et sa commercialisation, mais amène parfois à la création de livres qui ne possédaient pas d’espace éditorial. Repousser les frontières de l’édition, penser la spécificité du livre de « poésie-action » n’est pas sans paradoxes : déstructuration de la linéarité des discours, reconfiguration de l’espace de la page, adaptation spécifique des formats des livres et des polices de caractères. Ces pratiques ont pour enjeu la dimension performative du livre. En cela, on participe d’une manière renouvelée à une « performance typographique »<br>This doctoral thesis offers to study poetic practices in and out of the book from poets’ itineraries published by the Al Dante publishing house. The thesis is questioning the performance's notion, most often reduced to its scenic's dimension, but also the avant-garde's idea, too often limited to a political history which has ended. The avant-garde notion doesn't appear anymore as the element structuring the group but as an acting spectrality, leading to mix political issues - criticism of the institutions, criticism of the dominant language, challenges the places assigned by culture - with aesthetic issues. It is therefore a question of poetic translation as actualization of the political situation, and of transmediation. The stylistic approach has been gradually supplanted by a mediological approach to problematize heterogeneous practices. The Al Dante publishing house specificities allow us to see the book in a more general poetic ecosystem, where the book is no longer the only purpose, but the mediation between a process of creation and public events. So we can read this contemporary moment not only as the emergence of dominant themes, but also as a crisis of the book’s centrality and its economy. The Al Dante publishing house practices has led us to defend a theory of “editorial gesture” that cannot be reduced to the layout of manuscript or the production of a book and its marketing, but sometimes leads to the creation of books that didn’t find an editorial space. To push the boundaries of edition, to think the specificity poetry-action’s book is raising paradoxes: the disintegration of the linearity of the speeches, the reconfiguration of the page’s space, the specific adaptation of the books forms and fonts. These practices concern the book’s performative dimension. So it participates in a renewed way to a "typographic performance"
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Xie, Dongni. "A Performance Guide to Wu Yiming's "A Poem Carved in Stone"." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752372/.
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A Poem Carved in Stone, a work for piano solo by Washington DC-based Chinese composer Wu Yiming was composed in Spring 2020 and is dedicated to the author of this dissertation. The piece is inspired by the poetry of Han Shan, a recluse who lived during the Tang Dynasty (618-907 A.D.). His poetry is in Chan (Zen) tradition. Wu depicts the imagery and philosophy in Han Shan's poetry through highly complex rhythms, extreme sound effects and pitches, tone clusters, and extended piano techniques. This dissertation provides practical instructions for achieving these effects and executing the unconventional techniques found in this piece, which include playing inside of the piano, various standing and sitting positions, and coordination and balance. A guide to interpret this piece is from both the composer's and the performer's perspective. Observations are drawn directly from communications and coaching received from the composer. This study briefly explores the historical and cultural context of Han Shan's poetry and discusses how Wu's use of modern western compositional devices reflects the Zen philosophy. An interview with the composer is included along with an overview of both his compositions and those of composers who influenced him. It is hoped that this dissertation will encourage pianists who are not experienced with non-traditional techniques to explore new music from living composers.
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Cembrone, Kátia Pellicci. "Ode marítima: do atual ao inaugural a poesia como poiesis e performance." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/14678.
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Previous issue date: 2011-10-07<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This work aims to demonstrate the reason why Ode Marítima is considered the most
important poem of the Sensacionism Moviment, created by Fernando Pessoa and Mário
de Sá-Carneiro in the early twentieth-century, by establishing a connection between
actual and original, modern and primitive, time and no-time dimensions, chronological
time and mythical time. In order to do that, some of the theoretical frameworks used
were: the studies of the rhythm structure of this ode, by José Augusto Seabra and
Nicolás Extremera Tapia; the studies of oral poetry, developed by Paul Zumthor;
Fernando Pessoa and Mário de Sá-Carneiro s writings about Sensacionism; Micea
Eliade s studies about myth; and the philosophical view of man s way of life
transformations according to Friedrich Nietzsche. In the first chapter, we intended to
reflect on the transformations poetry has passed through the time in order to, in the next
chapter, explain and justify the sensacionist proposal of a modern art that is based on
sensation strength, and intends to touch the sensorial body of its receptor. Finally, we
proceeded to an analytic reading of the corpus: the Ode Marítima. We concluded that
the poem materializes the Sensacionism by proposing us a return to the origins of the
poetry. Thus, Álvaro de Campos modern experiment is access to the archaic rituals
rhythm: song, voice, dance, body pure sensation, pure poetry. Such an experiment
gives us the possibility of a more conscious perception of the complex way of modern
life<br>O objetivo deste trabalho é demonstrar por que Ode Marítima é considerada o poema
expressão máxima do movimento sensacionista, idealizado por Fernando Pessoa e
Mário de Sá-Carneiro, no início do século XX, estabelecendo uma relação entre o atual
e o inaugural, o moderno e o arcaico, o tempo e o não-tempo, o tempo cronológico e o
tempo mítico. Para tanto, alguns dos referenciais teóricos utilizados foram: os estudos
realizados por José Augusto Seabra e Nicolás Extremera Tapia acerca da estruturação
rítmica da ode; os estudos sobre a poesia oral, realizados por Paul Zumthor; os escritos
sobre o Sensacionismo, deixados por Fernando Pessoa e Mário de Sá-Carneiro; os
estudos do mitólogo Micea Eliade; e a leitura filosófica das transformações no modo de
viver do homem, realizada por Friedrich Nietzsche. No primeiro capítulo, buscamos
refletir sobre as transformações pelas quais passou o ser da poesia através dos tempos
para, no capítulo seguinte, explicar e justificar a proposta sensacionista, de uma arte
moderna que se baseia na força da sensação, que busca atingir o corpo sensorial do
receptor. Finalmente, realizamos uma leitura analítica do corpus: a Ode Marítima.
Concluímos que o poema materializa o Sensacionismo propondo-nos um retorno às
origens da poesia. Assim, o experimento moderno de Álvaro de Campos é acesso ao
ritmo dos rituais arcaicos: canto, voz, dança, corpo pura sensação, pura poesia. Tal
experimento nos dá a possibilidade de uma nova percepção, mais consciente, da
complexa forma de vida moderna
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Brunhara, Rafael de Carvalho Matiello. "Uma poética do simpósio: a performance da elegia grega arcaica na Teognideia." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-04082017-162140/.
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Estudos atuais atribuem à ocasião de performance um papel importante na interpretação da poesia grega arcaica. No que concerne à maior parte da poesia elegíca desse período, convencionou-se estabelecer que o simpósio foi o local de seu aparecimento e difusão. A tese propõe uma investigação acerca do maior corpus de elegias supérstite, a Teognideia, a fim de identificar nele traços composicionais de uma produção elegíaca destinada exclusivamente para essa ocasião de performance. Uma leitura das elegias 19-26 e 237-254 permitiu-nos verificar as práticas poéticas atribuídas a Teógnis e a identidade destas com o simpósio, e possibilitou uma leitura mais abrangente do corpus, que visou avaliar em que medida o livro de poemas de Teógnis poderia revelar traços de uma organização simposial. Procurou-se assim encarecer uma visão que mostra o simpósio como um dos elementos que pautou a formação de parte da Teognideia, e que determinava a estrutura e os expedientes do gênero elegíaco arcaico.<br>Current studies ascribe to the occasion of performance an important role in the interpretation of archaic greek poetry. With regard to most of the elegiac poetry of this time, the symposium appears as its favoured setting and place of its diffusion. This work investigates the widest corpus of surviving elegies, the Theognidea, in order to find traces of the symposium as a compositional feature to elegiac compositions. The study of verses 19-26 and 237-254 allowed us to verify the poetic practices attributed to Theognis and their identity with the symposium. It led us to a more compreehensive reading of the corpus, which aimed to evaluate to what extent Theognis book could reveal traces of symposiastic organization. Thus, this graduation thesis intended to highlight the symposium as one of the aspects that guided the formation of Theognidea and establishes structures and procedures to archaic greek elegy.
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Shook, Jennifer E. "Unending trails: Oklahoma-as-Indian-territory in performance, print, and digital archives." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/6501.
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Far from vanishing as romantically predicted, Native being remains present despite centuries’ efforts of erasure. Far from empty space or a blank page, the state of Oklahoma has always been and continues to be a site of transcultural negotiations. Native playwrights unghost—make visible—those shimmering glimmers when they re-present historical events. Centering the work of Native playwrights from Oklahoma-as-Indian-Territory, I in turn unghost—recover—the connections between historical crises dramatized by Native poets and playwrights and reenacted by historical interpreters in the twentieth and twenty-first centuries, with nineteenth century archives and circulations. I elucidate a new genealogy of Oklahoma-as-Indian-Territory, where borders bend in genre, time, and space. The Native plays here share a time-weaving relationship to earlier historical crises, a resistance to false closure, a recycling of time-worn stereotypes in the service of their undoing. Unghosting Native playwrights can mean reviving those who have fallen out of print, as with Red Renaissance prodigy Hanay Geiogamah, and reclaiming those whose Native identity has been erased, as with Lynn Riggs, whose Green Grow the Lilacs became the largely unsung foundation of the musical Oklahoma!, as well as expanding the dramatic archive to capture plays only found online.
My first chapter, “Staking Claims on Mixed-Blood Inheritance,” draws upon performance theorists Diana Taylor and Rebecca Schneider’s work in transcultural written and bodily archives to investigate two key repeated performances: the statehood mock wedding and the Land Run reenactments recently discontinued by the Oklahoma City Public Schools but still celebrated annually by schoolchildren across the state. Juxtaposing them with commemorative poetic performances by Diane Glancy, N. Scott Momaday, Joy Harjo, and LeAnne Howe, I situate these performances not as quirky local fun but as rituals of systemic colonial representational power. My second chapter, “Active States,” unghosts folk drama through Lynn Riggs’ pre-statehood play Green Grow the Lilacs and the collaboratively revised Trail of Tears outdoor spectacle produced for decades by the Cherokee Nation, including the extended material performances of these texts in playbills, a songbook, and a fine press illustrated edition. My third chapter, “Kitchen Table Worlds in Motion: Collaborations in Native New Play Development” examines four recent plays and the development institutions that support them, all breaking new ground in form yet recycling images and adapting texts and experiences from many archives: Hanay Geiogamah’s Foghorn, LeAnne Howe’s The Mascot Opera: A Minuet, Diane Glancy’s Pushing the Bear, and Joy Harjo’s Wings of Night Sky, Wings of Morning Light. My fourth and final chapter continues the exploration of recent work, yet on specific policy issues: the stolen bodies of residential schools and of looted funerary remains, and the ongoing repercussions of these instances of cultural genocide in courts and heritage sites today, as dramatized by Mary Kathryn Nagle and Suzan Shown Harjo in My Father’s Bones, Annette Arkeketa in Ghost Dance, and N. Scott Momaday’s in The Moon in Two Windows.