Performing Poetry - Body, Place and Rhythm in the Poetry Performance
Performing Poetry - Body, Place and Rhythm in the Poetry Performance
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表演诗歌——诗歌表演中的身体、地点和节奏
DOI：
10.1163/9789401200257_013
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发表时间：
2011
期刊：
影响因子：
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通讯作者：
Gräbner C
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作者：
Gräbner C
迪尔德丽·奥斯本的声音，一种对主流社会文化规范的抵抗性话语。此外，考虑作为公开表达媒介的诗歌与哈里耶特·马伦（Harryette Mullen）创造的“抵抗口头性”（resistance oral）的含义之间的共鸣是有成效的，她用这个词特别描述了非裔美国妇女奴隶叙事写作的创造性声音。对于英国的黑人诗人来说，同样地，作为“新千禧年的英国黑人先锋诗人”，他们“根本不把自己看作是移民、流亡者或游牧民，而是把自己看作是在自己的出生地拥有某些不可剥夺权利的英国公民，是一个不再伟大的英国的各种（现在正在‘下放’）但仍然是美国的‘合众国’（而不是王国）”（Arana 2002: 49-50）。Wright (2000), Dawes（2005）和Tutu（2007）探索了英国黑人诗人作品的现场表演协会的复杂后果，揭示了观众和评论家在不同背景下的各种解放，庆祝，减少和限制的接待。标签可以产生一种战斗或逃跑的反应，正如夸梅·道斯所指出的那样：“一种逃离标签的欲望，或者以蔑视的态度接受它，并将其作为一种种族和美学的声明”（282）。在用第三人称代词对自己的讽喻中，Sissay挑战了表演束缚的优越感：如果Lemn Sissay的现场观众被他的作品感动了——他喜欢现场阅读——这并不等同于他的阅读是一种“表演”。他认为这个描述（在日常用法中）暗示了一种行为。而行为意味着不真实。事实上，它经常被用作虚伪的赞美，尤其是在英国。要真正了解这个术语的误用，只需看看它的假想对立面（或假想对手）——“页诗”。Lemn Sissay认为这也是一个奇怪的平庸的非描述性术语，在普林斯顿诗歌和诗学百科全书中既找不到页面诗，也找不到表演诗。(晨曦70
Deirdre Osborne voice, a resistant orality to predominant socio-cultural norms. 2 Moreover, it is productive to consider the resonance between poetry as publicly uttered medium and the implications of Harryette Mullen’s coinage “resistant orality,” by which she characterizes specifically the creative voices of African American women’s slave-narrative writing. For black poets in Britain similarly speak back to, speak out against, and rewrite (poetic) traditions, as “neo-millennial black British avant-garde poets,” who, R. Victoria Arana argues,“do not at all see themselves as migrants, exiles, or nomads, but as British citizens with certain inalienable rights in their birthlands, the various (now ‘devolving’) but still United ‘States’(rather than Kingdom) of a Britain no longer Great”(Arana 2002: 49–50). Wright (2000), Dawes (2005), and Tutu (2007) have explored the complex ramifications of the live performance associations for the work of black poets in Britain, revealing various emancipatory, celebratory, reductive, and restrictive receptions in contexts spanning audiences and critics. Labeling can produce a fight or flight reflex, as Kwame Dawes notes:“a desire to run away from the label, or embrace it with defiance and as a kind of statement of race and aesthetics”(282). In parodic reference to himself in an objectifying third-person pronoun, Sissay challenges the condescension of the performance straitjacket:If Lemn Sissay’s live audience is moved by his work—and he loves reading live—this does not equate with his readings being a “performance.” He believes the description (in its everyday usage) implies an act. And an act implies an untruth. Indeed it is often used as a disingenuous accolade, particularly in Britain. To truly see the misapplication of the term simply look at its supposed opposite (or supposed opponent)—“Page Poetry”. Lemn Sissay believes this too to be a bizarre banal non-descript term and can find neither page nor performance poetry in the Princeton Encyclopedia of Poetry and Poetics.(Morning Breaks 70) 3