Which elements are best known for helping performers memorize an epic poem?

Which elements are best known for helping performers memorize an epic poem?

The wayang puppet theatre

For verification, this article needs further citations. Please contribute to the improvement of this article by citing credible sources. It is possible that unsourced content would be questioned and withdrawn. Locate sources: JSTOR – “spoken word” – news, newspapers, books, and scholars (March 2019) (To find out when and how to delete this template post, read the instructions at the bottom of this page.)
Spoken word is an oral literary performance art that focuses on the poetic as well as the aesthetic qualities of the artist. It is a late-twentieth-century continuation of an ancient oral artistic tradition that emphasizes the aesthetics of recitation and word play, including the performer’s live intonation and voice inflection. Every kind of poetry recited aloud, including poetry readings, poetry slams, jazz poetry, and hip hop music, as well as comedy routines and prose monologues, is referred to as spoken word. 1st Unlike written poetry, the content of a poetic text is determined by phonaesthetics, or the aesthetics of sound, rather than visual aesthetics on a page.

Which elements are best known for helping performers memorize an epic poem? of the moment

A meter is described by an abstract rhythmic pattern and a set of constraints that specify the licit correspondences between this rhythmic pattern and the phonological representation of a text, and measure their complexity by the (possibly weighted) least amount of their mismatches.
A metrical system is described within this formal framework by a collection of choices, which were previously characterized by parameters and are now characterized by constraint rankings. Both historical and practical considerations influence the decisions. Metrical form and performance and composition patterns are mutually accommodating, and metrical form is also accommodating to the language’s phonology and syntax. The related constraints are FIT and INTEREST (Hanson & Kiparsky 1996), which state that a meter should be as descriptive as possible while also being as restrictive as possible.
This talk looks at how metrical typology reveals a functionally defined tradeoff between the complexity of metrical patterns and the complexity of correspondence constraints. The metrical pattern is typically simple and invariant in stichic verse used in epic and dramatic poetry, while the realizational options are complex and varied. Its correspondence constraints are established over small domains, allowing for a large range of variations that can be used to convey ideas. Blank verse, hexameter, medieval Greek political verse, Vedic meter, and the Sanskrit sloka are all examples. Lyric verse written in stanzas, on the other hand, appears to build a wide repertoire of complex metrical patterns with strict restrictions on how they are realized. As in Sanskrit lyric meters, Pindar’s dactylo-epitrite meters, Berber songs, and Arabic qasidas, a poem conforms rigorously to a complex but invariant repetitive pattern with a wide domain of periodicity in the limiting case. These customs put high standards on both the poet and the audience.

Which elements are best known for helping performers memorize an epic poem? 2020

When I first started watching spoken word, I thought it was amazing that poets could memorize whole sets of material and perform them live with such ease (same goes for actors and musicians). I was curious as to how they managed to keep it all in their minds, and how they might appear to be sharing a tale for the first time while knowing it word for word! I normally perform much of my material off-book now that I’ve been performing poetry for about two years. It was overwhelming when I first started (and I still get angry butterflies in my stomach whenever I perform a new piece off-book for the first time), but thanks to guidance from other performers and techniques I learned in my own practice, learning and performing new material has become much simpler. So, in case they’re useful to anyone, I’d like to share some of the memorisation and success strategies that have helped me along the way. After the hop, there’s more!
The process of planning to perform a poem off-book starts for me well before the poem is completed. That is to say, when I’m writing a poem for live performance, I’m thinking about how the poem should be performed onstage. This is attributable to a number of factors. First, I’m more aware of the poem’s aural components, such as the rhyme scheme and meter. I’ve discovered that poems with more structural qualities are much easier for me to memorize than poems with less structural qualities. I’m not sure what the science is behind this, but lines that rhyme or have parallel metrical structures roll more easily from one to the other. It’s similar to how memorizing a song is simpler when there’s a soundtrack to set it against: the melody gets stuck in your mind, making it easier to recall the words when there’s a soundtrack to set them against. Rhymes act as anchors on which the poem can be fixed; similar to footholds in rock climbing, they can help you pin down the structure and give you a grip while performing. So, if I realize I’m writing an off-book work, I’ll be more mindful of its structure during the composition process, and (where it makes sense), I’ll try to use stronger rhythms and more rhymes than I would for a text-based piece.

Which elements are best known for helping performers memorize an epic poem? on line

Instead of attempting to memorize by cramming, spaced repetition is a centuries-old psychological strategy for efficient memorization and practice of skills in which memorization can be achieved much more effectively by spacing out each analysis, with increasing durations as one learns the object, with the scheduling done by software. Spaced repetition can scale to memorizing hundreds of thousands of items (while crammed items are almost instantly forgotten) and is particularly useful for foreign languages and medical studies due to the greater efficiency of its slow but steady approach.
I go through what this technique is good for, some of the broad research literature on it and the testing effect (mostly up to 2013), accessible software resources and use trends, and other thoughts and observations.
Making up for human flaws is one of the most fruitful fields of computing. We can’t do arithmetic, so they do it perfectly.1 Terabytes are remembered by them or we would forget. They make the best calendars because they still double-check what they have planned for the day. Even if we don’t recall anything, recalling a guide can be just as useful, just like the point of reading a manual or textbook cover to cover: the aim isn’t to remember anything, but to remember that something is there (and skimming them, you learn the right words to search for when you actually need to know more about a particular topic).