Well, cris, I think I would go along with Roger and suggest that you're
stretching the term 'performance' to the point where it becomes meaningless.
We already have a term for 'consciousness': it's called, erm,
'consciousness'. I think Deborah's initial inquiry on the subject 'Spoken
Word', even if it begged definition, implied a much clearer notion of poetry
in performance than that. I'd take issue with the claims of that notion, but
that's a different matter.
I suspect there's a kind of rejection of the autonomic unconsciousness at
work in your rather breathless intellectualizing, and perhaps, ironically,
an unconscious rejection of the unconscious hinterland. I notice a lot of
lists of names too: as if party invites were necessary.
I must insist that my earlier post did not endorse your statement about
'non-western' traditions. I shall repeat with an emphasis: classical Chinese
poetry became text based to an extent that exceeds Western traditions. It
retained its nursery rhyme and folk roots because it neglected sound when
compared to the West; all the sophistication became focused on the eye.
It was a literary poetry, and, because of its intricate entwining in the
class and bureaucratic structures of pre-revolutionary China, and the
relationship of Chinese script to heterogeneous languages of China, very
decidedly not an oral poetry.
best
dave
--
David Joseph Bircumshaw
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