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Performance poetry is poetry that is specifically composed for or during performance before an audience.
Performance poetry is not a modern phenomenon. It begins with the performance of oral poems in pre-literate societies. By definition, these poems were transmitted orally from performer to performer and were constructed using devices such as repetition, alliteration, rhyme and kennings to facilitate memorisation and recall. The performer "composed" the poem from memory, using the version they had learned as a kind of mental template. This process allowed the performer to add their own flavour to the poem in question, although fidelity to the traditional versions of the poems was generally favoured.
The introduction of writing had had a number of consequences for the composition and transmission of poetry. One of these was that the oral poems, or at least the most popular of them, tended to be written down. Another was that poetry now tended to be written for, rather than composed during, performance.
This kind of poetry was common through the Middle Ages in, for instance, the work of the troubadors and travelling bards who went from one noble's court or house to another singing or reciting their works in order to earn their living.
Although popular works, including popular poems or collections of poems, were already being distributed for private reading and study in manuscript form, there can be little doubt that the introduction of cheap printing technologies accelerated this trend considerably. The result was a change in the poet's role in society. From having been an entertainer, the poet became primarily a provider of written texts for private readings. The public performance of poetry became generally restricted, at least in a European context, to the staging of plays in verse and occasionally, for example in the cases of the Elizabethan madrigalists or Robert Burns, as texts for singing. Apart from this, the performance of poetry was restricted to reading aloud from printed books within families or groups of friends.
The early years of the 20th century saw a general questioning of artistic forms and conventions. Poets like Basil Bunting and Louis Zukofsky called for a renewed emphasis on poetry as sound. Bunting in particular argued that it the poem on the page was like a musical score; not fully intelligible until sounded. This attitude to poetry helped to encourage an environment in which poetry readings were fostered. This was reinforced by Charles OlsonCharles Olson ( 27 December 1910 10 January 1970) was an important 2nd generation American modernist poet who was a crucial link between earlier figures like Ezra Pound and William Carlos Williams and such later avant garde groups as the Beats and L A N G's call for a poetic line based on human breath.
During the 1950s, the poet Cid CormanCid Corman ( 1924 March 12, 2004) was an American poet, translator and editor who was a key figure in the history of American poetry in the second half of the 20th century. Early Life and Writing Corman was born in Boston's Roxbury neighborhood and grew u began to experiment with what he called oral poetry. This involved spontaneously composing poems onto a tape recorder. This practice was something that Allen GinsbergAllen Ginsberg ( June 3, 1926 April 5 1997) was a gay American Beat poet born in Paterson, New Jersey. He formed a bridge between the Beat movement of the 1950s and the hippies of the 1960s, befriending, among others, Jack Kerouac, Neal Cassady, William S was to take up in the 1960s. David Antin , who heard some of Corman's tapes, took the process one step further. He composed his talk-poems by improvising in front of an audience. These performances were recorded and the tapes were later transcribed to be published in book form. Around the same time, Jerome RothenbergJerome Rothenberg (born 1931) is an American poet and editor who is noted for his work in ethnopoetics. Early Life and Work Rothenberg was born in New York City and attended the City College of New York, graduating in 1952. In 1953, he got a Master's Degr was drawing on his ethnopoetic researches to create poems for ritual performances as happeningsHappenings has multiple meanings (besides the straightforward dictionary definition): The Happenings were a 1960s pop music group whose major hits were "See You In September" and a cover of "I Got Rhythm" updated for the nascent pop/rock era. In the art w. Perhaps most famously, the writers of the Beat generationThe term beat generation was introduced by Jack Kerouac in approximately 1948 to describe his social circle to the novelist John Clellon Holmes (who published the first novel of the beat generation, titled Go in 1952, along with a manifesto of sorts in th were noted for performance events that married poetry and jazzFor other article subjects named Jazz see jazz (disambiguation). Jazz is a musical art form characterized by blue notes, syncopation, swing, call and response, polyrhythms, and improvisation. It has been called the first original art form to develop in th.
In BritainSee: English literature Scottish literature Welsh literature Anglo-Welsh literature Literature Britain British Library Booker Prize Commonwealth Writers Prize International IMPAC Dublin Literary Award Whitbread Awards Newdigate prize Orange Prize for Fict, sound poets like Bob Cobbing and Edwin Morgan were exploring the possibilities of live performance. Cobbing's groups Bird Yak and Konkrete Canticle involved collaborative performance with other poets and musicians and were partly responsible for drawing a number of the poets of the British Poetry Revival into the performance arena.
Meanwhile, many more mainstream poets in both Britain and the United States were giving poetry readings, largely to small academic gatherings on university campuses. Poetry readings were given national prominence when Robert Frost was commissioned to write and read "The Gift Outright" at the inauguration of John F. Kennedy. After that event, spoken word recordings of Frost and other major figures enjoyed increased popularity.
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