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Performance poetry is poetry that is specifically composed for or during a performance before an audience. During the 1980s, the term〔The term originated with, an art school graduate and later creative writing P h.D. who wanted to distinguish her public poetry performances from performance art in advertisements and while writing for the ''Austin Chronicle.'' ''Intoxication: Heathcliff on Powell Street.'' Slough Press, 2007. ISBN 1-4276-0475-4〕 came into popular usage to describe poetry written or composed for performance rather than print distribution. ==History== The term "performance poetry" originates from an early press release describing the popular 1980s performance poet Hedwig Gorski, whose audio recordings achieved success on spoken word radio programs around the world.〔Wheeler, Lesley. Voicing American Poetry: Sound and Performance from the 1920s to the Present. Cornell U P, 2008.〕 Her band, East of Eden Band, was described as the most successful at music and poetry collaborations, allowing cassettes of her live radio broadcast recordings to stay in rotation with popular underground music recordings on some radio stations. Gorski, an art school graduate, tried to come up with a term that would distinguish her text-based vocal performances from performance art, especially the work of performance artists, such as Laurie Anderson, who worked with music at that time. Performance poets relied more on the rhetorical and philosophical expression in their poetics than performance artists, who arose from the visual art genres of painting and sculpture. ''The Austin Chronicle'' newspaper, printing Gorski's bi-weekly "Litera" column, first published the term "performance poetry" to describe the work of Gorski with composer D'Jalma Garnier III as early as 1982. She began using the term, however, to describe a 1978 "neo-verse drama" and "conceptual spoken poetry for five voices" titled ''Booby, Mama!'' that employs the cut-up method made popular by William Burroughs and conceptual art methods.〔''Intoxication: Heathcliff on Powell Street''. College Station, TX: Slough Press, 2007, 2009. ISBN 978-1-4276-0475-0〕 The National Endowment for the Arts categorized performance art within the visual arts judging panels; it originally placed performance poetry within the category of theater before correcting it to literature in the 21st century. Since many performance poets did not have publications, the former classification made performance poets categorically ineligible for the NEA fellowship funding or recognition. Their audio cassettes were not acceptable sample material for literature grant consideration. A stated objection to this presentation method protested their performance poems translated into text on paper could not compete with poetry written for print publication. The National Endowment for the Arts is now accepting varied presentations for publication verification for poetry fellowship applicants, including audio recordings that have no printed versions of the poems. Performance poetry with music peaked during the 1980s just as performance art peaked in the 1970s. During that time, San Francisco and New York were the centers for this type of activity; however, Austin, Texas (The Third Coast) also had a thriving scene during the 1980s with a coterie of unique characters. Some of the best original Austin performance poets and performing poets who went on to national and international notoriety include Raul Salinas, Konstantyn K. Kuzminsky, Joy Cole, Hedwig Gorski, Roxy Gordon, Ricardo Sanchez, Harryette Mullen, who was nominated for the National Book Award. The Austin Poets Audio Anthology Project, a public arts project, recorded them for radio broadcasts. There were many others, though, and Hedwig Gorski once wrote in "Litera" that some were "eerie", a word used by one newspaper reviewer to describe Gorski's vocals on the East of Eden Band track "There's Always Something That Can Make You Happy". Other performing writers in the robust literary scene of the Austin area during that time when performance poetry turned into a school of poetry included Pat Littledog, Eleanor Crockett, Jim Ryan, Chuck Taylor, Greg Gauntner, Albert Huffstickler, W. Joe Hoppe, Andy Clausen, poet and playwright Isabella Russell-Ides (''Getting Dangerously Close To Myself'', Slough Press) and David Jewell (poet); most recorded on Hedwig Gorski's audio anthology project. Jewell deserves special mention as a transitional figure, younger than the aforementioned, and one not especially rooted in the Beats like Gorski who has strong connections to Ginsberg, Corso, Gary Snyder, and others. By the 1990s the general poetry public was less interested in the Beat Poets of the 1950s and 1960s. They were looking for something fresher, newer, hipper, more in touch with the times in which they were living. Performance poets established clubs, cafes, and media as venues that later became stages for the emerging slam poetry scene. Unlike Gorski, who with East of Eden Band, began broadcasting live performance poetry on radio 〔Wheeler, Lesley. ''Voicing American Poetry: Sound and Performance from the 1920s to the Present. Cornell U P, 2008.''〕 and distributing the recordings of these broadcasts in place of publishing in print, Jewell and slam poets were more interested in small live audiences. Venues like Nuyorican Poets Cafe in New York City and mass media formats, like Gorski's and John Giorno's, form the two lines of influence leading to Def Poetry on HBO. Performing poets/writers and especially performance poets excelled in the ability to put the event of oral literature into the primary social/communicative function for literature. The plurality of the literary performance is under the control of the poet/writer, and the performer never minimizes the participation of the audience members. It is important to remember that performance was the primary distribution method for poetics since tribal times and ancient Greece. As Gorski often states, broadcast and technology surpass books in reaching mass audiences for poetry, and just as writing poetry for print made poetry a completely different artform since the invention of the book, audio "mediums influence the way poets write just as they do painters and sculptors".〔http://hedwiggorski.com〕 Today, performance poetry is also being used as a means to promote literacy in public school systems. Global Writes Inc. has been incorporating technology, such as videoconferencing and podcasts, into literacy programs as a means for students to share their poetry. 〔http://globalwrites.org/what-we-do/〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Performance poetry」の詳細全文を読む スポンサード リンク
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