Reading Your Poetry in Public

Writing is a solitary work, so how do we know if our poetry is high quality, passable or mediocre? Our family members and close friends will not tell us the truth for fear of hurting our feelings. There is another way to rate your poetic endeavors - a public reading.

One poet often schedules a reading of his/her own poetry, or possibly a group of poets who meet regularly may set up a reading for a social club or church group. They can also be scheduled at libraries or school districts. Another place to consider is a local bookstore. When a single poet performs at a reading, it is recommended they read work that is closely related in some way. This can be by subject, form or mood. If you schedule a reading of your poetry, or with a group of poets, you need to publicize the event in local newspapers, through fliers posted where allowed and by the spoken word.

The Poetry Slam is another type of reading event. In his book, "Poet's Guide - How to Publish and Perform Your Work," Michael Bugeja says a slam is a 'literary version of The Gong Show.' In this type of reading, the audience wants to hear poems that excite or move them emotionally. It depends on the listeners, who may applaud or put you down. Poems about current issues in the news such as war, violence and politics often are rated highly at slams. Interaction of poet and audience is the greatest benefit of performance poetry. Most major cities hold poetry slams on weekends or special nights, which are widely publicized.

The 'open-mike' reading is often scheduled at universities in conjunction with the English departments. In this kind of atmosphere, there might be another function or event, with the open-mike poetry reading slated as a part of the whole. Poets bring their best work, step up to the mike, introduce themselves and proceed to read their poetry. This is a good opportunity to get frank critiques from professors and other poets.

A local poetry chapter where I was a member while living in another town, often read for groups such as those in assisted-living facilities, classes at elementary and high schools and other clubs and organizations. We once read at an event at our local Adult Center, entitled, 'A Romantic Evening.' This was strictly an entertaining event, where we read love poems. It was an enjoyable evening for the poets, along with some singers and musicians. An accomplished pianist played softly, a beautiful rendition of clair de'lune as I read. She also played for others as appropriate. .

Now we will discuss preparing for the poetry-reading performance. Spoken poetry was poetry for a long period of time - more so than the written version we know today. In the contemporary world, performing poetry now means: (a.) slam poetry integrated with improvisation and possibly music as a performing art: and (b.) the reading of poetry aloud in classroom, workshop or other facilities and events. The two forms of poetry reading are not extremely different, and the performance is the main governing feature. Actually, they are theater, where the artist interacts directly with the audience. Both require an outgoing personality and other communicative skills. Practice is essential, but more than clarity and pleasant delivery are required. The poetry must fit the audience and possibly the theme, be it seasonal, a holiday or of local significance. If one is preparing to read his/her works in public, the essential message is practice, practice, practice.

Some Recommendations:

1. Learn the basics of the actor's trade: relaxation, breath control, articulation, voice projection and modulation. Projection of one's voice is of utmost importance. Look up as much as possible, and smile or show the emotion derived from the poem. Do this as a precise daily practice, not as a chore left to the night before.

2. Rehearse the performance so thoroughly that the actual reading seems natural.

3. Entertain. Be genuinely friendly to the audience. Address them directly. Get their attention. Play to their reactions.

4. Memorize the pieces sufficiently so only an odd glance at the script is necessary. This will help keep your focus on the audience and help you make eye contact.

5. Leave nothing to chance. Check lectern, microphone, space on the stage, how you make your entrance, place your script, etc.

6. Know your place on the evening's roster of readers, and arrange your pieces accordingly. You will be more at ease.

7. Enjoy yourself. Have a good time, and so will the audience.

Sources:

Personal experience