Poetry Reading

[Neville Briggs]

Very well said Neil.

[Bob Pacey]

Was sorta agreeing with you until you said this Bill.

( rather than rely often on artificial body language and movements )


Like poetry reading you have got to choose your words better,


At least you did not shout.

Yes Neil I have been down that track as well at times re ( I must admit that I have hired and presented Poets in the past, at Festivals, who simply failed to entertain )

Bob

[David Campbell]

Sorry Marty, but I naturally assumed you’d be bored to tears given your question “…why dumb it down by allowing reading?” However if you meant something entirely different by that, to borrow Pauline’s immortal line: “Please explain!”

Neil: it’s good to know there’s a fair amount of successful reading happening “out there”. You’re much more involved in the performance side of things than most of us, so it’s a valuable perspective. I’m not one of those who subscribes to the “staleness” idea, and have written often enough (probably too often in some people’s opinion!) about the importance of countering this impression by (among other things) writing poetry that tackles contemporary issues or maybe even borrows some free verse techniques. Boundaries are being pushed, albeit slowly.

One issue that I’d like to pursue a little further is the commonly expressed view that moving from reading to reciting from memory is a natural progression that automatically brings improvement. Because I did exactly the opposite, and the reasons why might be of interest.

I spent many enjoyable years in amateur theatre. Being on stage in a play involves a number of aids to memory…cues from the other actors and physical interactions with them, props, position on the set, entrances and exits, and a mind-map of where you’re up to in the script. The most important of these is the giving and receiving of cues, so you have to remain “in the moment”, concentrating on what your fellow cast members are saying in order to pick up the cues when they’re given. The mind-map sometimes failed, but as long as the cues etc. were OK things usually rolled along merrily. Except for one famous occasion when someone (not me, fortunately) gave the wrong cue and we repeated a couple of pages of dialogue!

But when it came to memorising poems for a presentation of some sort I found there was really only the mind-map remaining. You’re on your own, just like a series of dramatic soliloquies. So I tried it for performance competition purposes (with some success), but didn’t really enjoy the experience. My brain kept running ahead of what I was saying, double-checking how the next stanza began (for example), which meant I wasn’t concentrating on “the moment” and proper voice control (very important, as Bill says). In other words I was distracted, and not focussed on delivering the lines in the best way possible.

Couldn’t help it. Maybe it’s my mathematical background, because we tend to be obsessive perfectionists (who would have guessed?). I also found that in the lead-up to an event my mind would be in a constant loop, running over and over the lines. Which was irritating, tiring, and no fun at all. So I eliminated all that by reading and, in my opinion anyway, created a better result. Not everyone’s cup of tea, obviously, but it brought the enjoyment back for me. And if any performance competitions down this way offer a reading section I’ll certainly be tempted to enter!

Cheers
David

[Stephen Whiteside]

I'm coming to this discussion late, but I'll throw in my two bob's worth, because it is interesting.

When I started performing back in the 80s I was very strict with myself about performing by memory. I would recite poems to myself over and over - especially in the car.

Eventually, though, it became a real burden. I dreaded writing a new poem, because it meant I was committed to a whole new round of drudgery.

Eventually I decided to 'bite the bullet'. Andrew Pattison (of "Troubadour" fame) had asked me to perform at his winery, and I asked him if he minded if I read instead of recited. To my great surprise, and relief, he replied that he didn't care at all, as long as I entertained the crowd.

The early poems that I learnt are pretty much still with me, and there are a few later poems that are not too long, and I have recited often enough to know off by heart, but by and large these days I read. The other thing I should add is that I'm pretty limited as an entertainer anyway (at least for adults - I do much better with kids) so it doesn't really matter much whether I recite or read. I enjoy the freedom of being able to devote any of my - fairly limited - spare time to writing, without having to share it with the drudgery of learning material by rote.

I should add that the most entertaining poet I have ever seen, Les Barker, reads - but he does it exceptionally well.

[Neville Briggs]

This has probably been said before here, but I think the main thing with reading is to have read the poem over and be very familiar with it before reading.
I support the idea of reading but I have seen people read poems that they have not familiarised themselves with, sometimes just go in cold and the result is bad. I have been guilty of doing it, it's no good.
A person who knows the poem and just uses the reading as a memory prop is likely to come across very well especially if they have practised some expression to go with it.

I have a poetry mate who does it all the time, he hardly reads really, just glances down now and again at the book to keep himself on track and the result is fine. And the best thing is he will never have that awful blank moment.

[Stephen Whiteside]

I do think that sort of 'supported reciting' is vastly superior to the bloke (or tart) who thinks he has it committed to memory, but then finds he doesn't, and reaches for a piece of folded paper in his back pocket that he proceeds to laboriously unfold. Displays such as these are exceedingly unentertaining. If you have any doubt at all, you might as well start with the piece of paper fully unfolded and in your hand for ready reference.

[vwalla]

When I saw that there was a reading section in one of the Bush Poetry Competitions I was quite excited (purely in a self interest attitude) because I have been practising one of my poems for 10 years and am still not confident that I will not be Stuttering and Stammering if I attempted a Performance .In my opinion this does not do any poem justice.
I am so in awe and admiration for someone who can memorise and present their poem without hesitation and agree that they should be rewarded for their endeavours and skills.
However, when a poem which is read - and a memorised piece are in the same competition. This, as it is now is certainly not a level playing field for either genre.
Somewhat like comparing Apples and Oranges wouldn't you think ?
Val W

[william williams]

For those who are interested go to the audio section and here is one I read to a crowd of people. Though this is not a good recording you may hear what I mean.
By the way this poem won a commendation a few years back.

bill the old battler

[keats]

You are more intelligent than that Marty. Don't be influenced by others with a beef. Just keep on being yourself. That was what made you an important part of this brotherhood.

[keats]

Oh and Bill. Please be more specific as to what you want us to listen to. I don't know which recording you are referring to.

Neil