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Performance poetry --- Poetry slams --- Performance poetry --- Performance poetry

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Over the past decades, the poetry performance has developed into an increasingly popular, diverse, and complex art form. In theoretical and critical discourse, it is referred to as performance poetry, spoken word poetry, and polipoesía ; some theorists argue that it is an independent poetic genre, others treat it as a contemporary manifestation of oral poetry or of the poetry recital. The essays collected in this volume take up the challenge that the poetry performance poses to literary theory. Coming from a variety of disciplines, including Literary Studies, Theater Studies, and Area Studies, contributors develop new approaches and analytical categories for the poetry performance. They draw on case studies from a variety of contexts and in several languages, including Brazilian Portuguese, Dutch, Catalan, English, French, Galician, and Spanish. Essays are organized in three sections, which focus on critical and theoretical approaches to the poetry performance, on the mediatic hybridity of this art form, and on the ways in which the poetry performance negotiates locatedness through engagements with space and place. The structure of the volume intersperses essays on theory and analysis with self-reflexive essays from performance poets on their own performance practice.

Performance poetry. --- Oral interpretation of poetry --- Place (Philosophy)

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Acts of Poetry examines the rhetoric, history, and practice of postwar American poet's theater. American poet's theater proliferated in the postwar period, when rich, performance-oriented poetry and theater scenes came together on the makeshift stages of urban coffee houses, shared apartments, and underground theaters. And yet its importance and history have been almost entirely ignored by critics. Acts of Poetry shines a spotlight on the practice of poet's theater by examining key groups and practitioners. Bringing together cultural history and criticism, it maps poet's theater in relation to performance practices such as poetry readings, avant-garde theater, and conceptual art and demonstrates not only the emergence of poet's theater in the postwar period but its continuation and legacy today.

Performance poetry. --- Theater --- American drama --- History. --- History and criticism.

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The Room Is on Fire offers an overview of youth spoken word poetry's history, its practitioners, participants, and practices. Susan Weinstein explores its grounding in earlier literary/performance/educational traditions and discusses its particular challenges. In order to analyze these issues, the story of how youth spoken word poetry developed as a field is told through the voices of those involved. Interviewees include the people who organized the first youth poetry slam festivals, the founders of central youth spoken word organizations, and a selection of young people who have participated in their local programs and in regional and national events over the last two decades. Narratives about individual and communal efforts and experiences are supported by analyses of full-text poems by youth poets and by reference to contemporary scholarship in performance studies, critical youth studies, and new literacy studies. Blending history and theory with practical descriptions of how spoken word poetry is taught and how to produce spoken word events, the book will appeal to researchers, teacher educators, and K–12 teachers.

Spoken word poetry. --- Performance poetry. --- Oral interpretation of poetry --- Spoken word poems --- Poetry

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"Analyzes the transformation of song lyric (ci), a form of Chinese poetry, from performance contribution to a full literary genre. Examines its discursive contrast to older classical poetry, as well as its emphasis on sensibility, which was lost in the new Song world of righteousness and public advancement"--Provided by publisher.

Chinese poetry --- Performance poetry --- Song dynasty, 960-1279 --- History and criticism --- History --- Shi, Su, --- China --- Civilization