Yes I know Tim Turnbull's stuff. 'nuf said.
I suppose you mean the macho thing. A boy called sue etc. Ha.
Tim A.
On 24 Jun 2009, at 13:35, Sally Evans wrote:
> I guess (mens) performance poetry may be rather in at prisons, Tim
> Turnbull does this and works for the prison service too. just for
> information
> Sally Evans
> http://www.desktopsallye.com
> http://www.poetryscotland.co.uk
> tel UK 01877 339449
> ----- Original Message ----- From: "David Bircumshaw" <[log in to unmask]
> >
> To: <[log in to unmask]>
> Sent: Wednesday, June 24, 2009 11:16 AM
> Subject: Re: Technique
>
>
> Tim
>
> ok blokes tend not to be prison guards.
>
> 2009/6/24 Tim Allen <[log in to unmask]>
>
>> Thanks Dave,
>> I'm pretty sure I've heard of sureshot somewhere before. Sounds an
>> ok bloke
>> and what he says makes sense. What's the poetry like though?
>>
>> I'm a page poet and at least 99.9% of the poetry I go for is page
>> poetry,
>> but I love the human voice and I love what a poet's actual voice
>> does to
>> their own poem. That instability of address alongside such a strong
>> direction (the voice takes something down one arrow) is a fascinating
>> combination. But poetry written just for performance, or mainly for
>> performance is a different matter. Often it comes across as drama
>> i.e. it
>> comes across as acting, and we know that actors are the worse
>> readers of
>> poetry, their own or not.
>>
>> Tim A.
>>
>>
>> On 23 Jun 2009, at 17:48, David Bircumshaw wrote:
>>
>> Ah, Tim, Desmond's a sweetie really. Now what do you do when you
>> have
>>> screws
>>> claiming to be poets (read on, the mentioned HMP Leicester is
>>> within sight
>>> of my window. People I know who have been guests there speak
>>> highly of the
>>> sensitive souls of the concierges)
>>>
>>> Called 'Sureshot' as well, man!
>>>
>>>
>>> *Spoken word artist Michael Brome aka Sureshot muses on the power of
>>> performance and the human voice.*
>>>
>>> **
>>>
>>> I WAS ONCE TOLD
>>> “IF YOU’RE NOT READING THEN YOU’RE NOT WRITING”
>>>
>>> At the time I didn’t agree, I wasn’t the best read person in the
>>> field of
>>> literature and I suppose I drew information from other sources.
>>>
>>> I have always been fascinated with the different ways the minds of
>>> people
>>> work and how we digest information.
>>>
>>> For me music has been such an integral part of my life, sound
>>> seems to
>>> fill
>>> me full of words.
>>>
>>> I was born into the hip Hop Culture and before I was old enough to
>>> step
>>> foot
>>> out of my house and buy my own records I was surrounded by reggae
>>> and
>>> Calypso.
>>>
>>> These genres of music bless many stages and with that influence my
>>> form of
>>> literature feels at home on the stage.
>>>
>>> In regards to spoken word, when you hear the words Poetry or Jazz
>>> people
>>> tend to run a mile. Even at school poetry has always been met with
>>> a sigh.
>>>
>>> Unless the outsider gets to see a performer use words and body in
>>> unison
>>> and
>>> bring a page to life, then poetry all of a sudden becomes more
>>> palatable.
>>> The outsider simply didn’t know you could do it like that.
>>>
>>> Regardless of being a page or stage poet, the written word has got
>>> to be
>>> strong if you want to be recognised with the heavy hitters. And I
>>> feel
>>> every
>>> performer’s goal should be to have their work stand on the page
>>> and stand
>>> on
>>> the stage.
>>>
>>> However I do believe there are differences in the writing process
>>> when
>>> specifically writing to be performed and writing to be read.
>>>
>>> THE LOVE AND USE OF LANGUAGE FROM PAGE POETS SHINES THROUGH THE
>>> PAPER AND
>>> CAN INSPIRE OTHER ARTISTS TO BRING IT TO THE STAGE.
>>>
>>> The author may not be comfortable as that type of artist but his/
>>> her words
>>> might be.
>>>
>>> Page poets have a command of language that highly decorates the
>>> paper, but
>>> I
>>> still maintain, if your mind is not one that takes to reading then
>>> an
>>> author
>>> could have the skills of Shakespeare, it won’t make a difference.
>>>
>>> Stage poets take those beautiful words and craft a one man /woman
>>> movie
>>> that
>>> will engage the viewer on different levels.
>>>
>>> I believe there to be a power in live literature that attacks most
>>> of the
>>> senses and provides a different angle to poetry that captures the
>>> passer
>>> by
>>> who has been lost in the stereotype.
>>>
>>> I feel the goal of any artist in which ever field, is to grow, in
>>> hind
>>> sight
>>> I was a fool to think I don’t need to read.
>>>
>>> It could only make me a better performer providing I maintain my own
>>> identity.
>>>
>>> IT’S ALL ABOUT YOUR VOICE, PAGE OR STAGE
>>> PEOPLE ARE LISTENING TO YOUR VOICE.
>>>
>>> Nominate your favourite poetry <http://literaturenetwork.org/?
>>> p=1352> for
>>>
>>>
>>> the Lyric Lounge
>>>
>>> Michael Leonardo Brome (aka SureShot) Michael Brome is a prison
>>> officer at
>>> HMP Leicester. His performance alter ego is: Sureshot - a poet and
>>> comedian
>>> who commands the audience’s attention with intense stage presence.
>>> He
>>> performed as part of the Freedom Showcase and has won national
>>> commissions.
>>>
>>>
>>>
>>> 2009/6/23 Tim Allen <[log in to unmask]>
>>>
>>> The negativity I associate with the word craft is connected to
>>> what I said
>>>> in an earlier post about the way the word was bandied about back
>>>> in the
>>>> 80's
>>>> - a huge part of the 'poetry workshop' mentality, something which
>>>> put
>>>> artificial limits on what a poem could and couldn't do etc.
>>>>
>>>> As for 'learning/using both', well, if someone has in their head an
>>>> notion
>>>> of what they are, even provisionally, fair enough.
>>>> Tim A.
>>>>
>>>>
>>>> On 23 Jun 2009, at 15:48, Douglas Barbour wrote:
>>>>
>>>> Hmmnn, but it seems we do, care that is.
>>>>
>>>>>
>>>>> I tend to join you in thinking that each of us chooses how 'we'
>>>>> hear
>>>>> each
>>>>> term & judge it. I'm not sure 'craft' is negative, though; it
>>>>> certainly
>>>>> is
>>>>> not, to me. Nut, then, neither is 'technique'. Since I would
>>>>> want to
>>>>> argue,
>>>>> in any art, that one needs to learn/use both.
>>>>>
>>>>> Doug
>>>>> On 23-Jun-09, at 5:39 AM, Tim Allen wrote:
>>>>>
>>>>> Come on, we're poets, we should know how undependable words can
>>>>> be. I
>>>>>
>>>>>> really don't care, especially about the word 'craft' - its
>>>>>> connotations
>>>>>> are
>>>>>> nearly always negative because of the ideological way the
>>>>>> concept gets
>>>>>> used.
>>>>>>
>>>>>>
>>>>> Douglas Barbour
>>>>> [log in to unmask]
>>>>>
>>>>> http://www.ualberta.ca/~dbarbour/
>>>>>
>>>>> Latest books:
>>>>> Continuations (with Sheila E Murphy)
>>>>> http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664
>>>>> Wednesdays'
>>>>>
>>>>>
>>>>> http://abovegroundpress.blogspot.com/2008/03/new-from-aboveground-press_10.html
>>>>>
>>>>> The abandoned world offers its wild particulars,
>>>>> leaves in the air, a single leaf on water.
>>>>> ............
>>>>> The rain falls like rain.
>>>>>
>>>>> David Helwig
>>>>>
>>>>>
>>>>
>>>
>>> --
>>> David Bircumshaw
>>> "Nothing can be done in the face
>>> of ordinary unhappiness" - PP
>>> Website and A Chide's Alphabet
>>> http://www.staplednapkin.org.uk
>>> The Animal Subsides http://www.arrowheadpress.co.uk/books/
>>> animal.html
>>> Leicester Poetry Society: http://www.poetryleicester.co.uk
>>>
>>
>
>
> --
> David Bircumshaw
> "Nothing can be done in the face
> of ordinary unhappiness" - PP
> Website and A Chide's Alphabet
> http://www.staplednapkin.org.uk
> The Animal Subsides http://www.arrowheadpress.co.uk/books/animal.html
> Leicester Poetry Society: http://www.poetryleicester.co.uk
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