Comments on: I Like Cristin O’Keefe Aptowicz A Lot: Part 4 http://htmlgiant.com/i-like-__-a-lot/i-like-cristin-okeefe-aptowicz-a-lot-part-4/ the internet literature magazine blog of the future Sun, 12 Feb 2012 06:01:00 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: HTMLGIANT / I Like Cristin O’Keefe Aptowicz A Lot: Part 5 http://htmlgiant.com/i-like-__-a-lot/i-like-cristin-okeefe-aptowicz-a-lot-part-4/comment-page-1/#comment-41872 HTMLGIANT / I Like Cristin O’Keefe Aptowicz A Lot: Part 5 Fri, 04 Dec 2009 19:01:50 +0000 http://htmlgiant.com/?p=19871#comment-41872 [...] Part 1 | Part 2 | Part 3 | Part 4 [...] [...] Part 1 | Part 2 | Part 3 | Part 4 [...]

]]> By: michael james http://htmlgiant.com/i-like-__-a-lot/i-like-cristin-okeefe-aptowicz-a-lot-part-4/comment-page-1/#comment-41691 michael james Thu, 03 Dec 2009 19:39:40 +0000 http://htmlgiant.com/?p=19871#comment-41691 word. i find performing poetry is very similar to acting on stage or screen. the poem is the character you are trying to assume. You're almost trying to get rid of the ------continuous *I*------- and allow yourself to become the work. You know sometimes when you perform and it suddenly feels as if you are outside your body, watching yourself perform? As if the poem has assumed your being and edged you out, speaking for itself? I find that *readings* tend to be the poet speaking of this object at a distance, completely undetached. Detachment is necessarily. This does not lead to a monotone self. My arms move a lot. Facial expressions. Pauses. Smiles. If I'm talking about someone sniffing coke through a straw I may put my finger to my left spetum or something. Other times I may be more subdued, but I find the best performances are always specific to the poem, and it is not necessarily my choices, but the poem, as I mentioned before, performing itself. Yay for O'Keefe. word. i find performing poetry is very similar to acting on stage or screen. the poem is the character you are trying to assume. You’re almost trying to get rid of the ——continuous *I*——- and allow yourself to become the work. You know sometimes when you perform and it suddenly feels as if you are outside your body, watching yourself perform? As if the poem has assumed your being and edged you out, speaking for itself? I find that *readings* tend to be the poet speaking of this object at a distance, completely undetached. Detachment is necessarily. This does not lead to a monotone self. My arms move a lot. Facial expressions. Pauses. Smiles. If I’m talking about someone sniffing coke through a straw I may put my finger to my left spetum or something. Other times I may be more subdued, but I find the best performances are always specific to the poem, and it is not necessarily my choices, but the poem, as I mentioned before, performing itself.

Yay for O’Keefe.

]]> By: michael james http://htmlgiant.com/i-like-__-a-lot/i-like-cristin-okeefe-aptowicz-a-lot-part-4/comment-page-1/#comment-128374 michael james Thu, 03 Dec 2009 19:39:00 +0000 http://htmlgiant.com/?p=19871#comment-128374 word. i find performing poetry is very similar to acting on stage or screen. the poem is the character you are trying to assume. You're almost trying to get rid of the ------continuous *I*------- and allow yourself to become the work. You know sometimes when you perform and it suddenly feels as if you are outside your body, watching yourself perform? As if the poem has assumed your being and edged you out, speaking for itself? I find that *readings* tend to be the poet speaking of this object at a distance, completely undetached. Detachment is necessarily. This does not lead to a monotone self. My arms move a lot. Facial expressions. Pauses. Smiles. If I'm talking about someone sniffing coke through a straw I may put my finger to my left spetum or something. Other times I may be more subdued, but I find the best performances are always specific to the poem, and it is not necessarily my choices, but the poem, as I mentioned before, performing itself. Yay for O'Keefe. word. i find performing poetry is very similar to acting on stage or screen. the poem is the character you are trying to assume. You’re almost trying to get rid of the ——continuous *I*——- and allow yourself to become the work. You know sometimes when you perform and it suddenly feels as if you are outside your body, watching yourself perform? As if the poem has assumed your being and edged you out, speaking for itself? I find that *readings* tend to be the poet speaking of this object at a distance, completely undetached. Detachment is necessarily. This does not lead to a monotone self. My arms move a lot. Facial expressions. Pauses. Smiles. If I’m talking about someone sniffing coke through a straw I may put my finger to my left spetum or something. Other times I may be more subdued, but I find the best performances are always specific to the poem, and it is not necessarily my choices, but the poem, as I mentioned before, performing itself.

Yay for O’Keefe.

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