Notation 2016, No.1 »Perceptual-Identity of Street and Stage«
»All the world's a stage, and all the men and women merely players; they have their exits and their entrances, and one man in his time plays many parts, his acts being seven ages. At first, the infant, mewling and puking in the nurse's arms. Then the whining schoolboy, with his satchel and shining morning face, creeping like snail unwillingly to school. And then the lover, sighing like furnace, with a woeful ballad made to his mistress' eyebrow. Then a soldier, full of strange oaths and bearded like the pard, jealous in honor, sudden and quick in quarrel, seeking the bubble reputation even in the cannon's mouth. And then the justice, in fair round belly with good capon lined, with eyes severe and beard of formal cut, full of wise saws and modern instances; and so he plays his part. The sixth age shifts into the lean and slippered pantaloon, with spectacles on nose and pouch on side; his youthful hose, well saved, a world too wide for his shrunk shank, and his big manly voice, turning again toward childish treble, pipes and whistles in his sound. Last scene of all, that ends this strange eventful history, is second childishness and mere oblivion, sans teeth, sans eyes, sans taste, sans everything.«
― William Shakespeare, As You Like It
What we see is the simultaneity of perception – fixed on a stage (the stage of remembrance).
The aim is to fix the moving simultaneity as a line in the presence (a line which is constantly available). The fixing should be done as a poetical construction, i.e. as a poem or a notation of lyrical order.
Reading is to put the vivid movement back into our perception.
This is Moving Poetry.
The perceptual-identity of a street and a stage (for example, the street corner Rue Rue André Mazet / Saint-André des Arts) while you are watching out of a coffee shop window what happens outside...
Lineation dictates when a line of poetry stops and a new lines begins.
Lineation also dictates when the walk along the line has to be stopped and when the participant has to jump to another lines (directly to one of the crossing points, he has to decide which he will choose).
»Two roads diverged in a wood, and I -
I took the one less traveled by,
And that has made all the difference.«
The Road Not Taken by Robert Frost
The poem moves from lineation to lineation, the poetry itself is moving us in a physical sense, while we are reading. Moving poetry is, to move and to be moved by reading, with no other aim than to stay in movement.
We are reading what happens on stage: on the stage of our mind as well as on the stage of the streets, the rooms, the spaces between the interacting people, things, and thoughts...
»At twenty I tried to die
And get back, back, back to you.
I thought even the bones would do.
But they pulled me out of the sack,
And they stuck me together with glue.«
Daddy by Sylvia Plath