Publikacija SEP 2011 - Vilenica
Publikacija SEP 2011 - Vilenica
Publikacija SEP 2011 - Vilenica
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scenes all over the world (such as the notorious Croatian festival FAK<br />
and Prozni mnogoboji – The Prose Marathon – in Slovenia, if we limit<br />
ourselves only to the more local environment). The present text will<br />
focus on poetry performances and their value.<br />
As already said, a poetry recital or, better yet, the performance of a<br />
poem can already be part of poetry itself. More than that, it is its fundamental<br />
part, connected to its very beginnings in the history of mankind,<br />
from the Indian The Vedas to classic poetry. After all, poetry, in the form<br />
we know today and of which we are heirs, was first transmitted orally. It<br />
was, if we use the popular contemporary word, performative in its basis.<br />
This postmodern term derives from the label for poetry, which is written<br />
to be performed. Performance poetry tends to draw on oral tradition<br />
and had developed and flourished in the 1980’s, primarily in the US.<br />
This poetry movement, which builds on vehement, often pompous poetic<br />
expression, also encompasses, in its wider sense, slam, sound poetry,<br />
spoken word etc.<br />
This text will not be focusing on performance poetry but rather on<br />
poetry which is not written with live performance in mind – or reciting<br />
or reading. To sum up, I will attempt to illustrate how, in the<br />
so-called standard, traditional poetry, which certainly must be of high<br />
quality, foundations can be laid for good performance. These foundations<br />
consist of the poetic language, the poem’s rhythm, rhyme etc.<br />
These can truly be achieved only through the human voice, the voice<br />
performing the poetry. Personally, I believe it is better that this is the<br />
voice of the author. (There is a poetry portal, www.lyrikline.org, which<br />
shares my opinion.) And why is the author’s voice such a key element<br />
in performing poetry I am certain that only the voice can reveal the<br />
act of language in the poem, only the voice can provide a true experience<br />
of the language. And, as Martin Heidegger would put it, only the<br />
voice can unfold the complete essence of the poem.<br />
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