Arte e letteratura dei paesi di lingua inglese
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| Arte e letteratura dei paesi di lingua inglese |
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concrete poetry and visual poetry
Eugen Gomringer in 1968 says
“the new poem is simple and can be perceived visually as a whole as well as in its parts. It becomes an object to be both seen and used; an object containing thought but made comcrete through play-activity, its concern is with brevity and conciseness. It is memorable and imprints itself upon the mind as a picture. Its objective element of play is useful to modern man, whom the poet helps through his special gift for this kind of play-activity. (…) The constellation is an arrangement, and at the same time a play-area of fixed dimensions. The constellation is ordered by the pot. He determines the play-area, the fields or force and suggests its possibilities. The reader, the new reader, grasps the idea of play, and joins in. (…) The Constellation is an invitation. [E. Gomringer, From Line to Consellation]
Rosemarie Waldrop:
“ we do not usually see word, we read them, which is to say we look through them at their significance, their contents. Concrete poetry is first of all a revolt against this transparency of the word (…). Concrete poetry makes the sound and dhape of words its explicit field of investigation (…). Further, it stresses the visual side which is neglected even in the ‘sound and sense’ awareness of ordinary poetry (as wellas in the oral bias of most linguistis).
This does not mean that concrete poets want to divorce the physical aspects of the word from its meaning …. Words are not colors or lines: their semantic dimension is an integral part of them” (R. Waldrop, A Basis of Concrete Poetry, 1982).
“the black signs tell what the white space means but is incapable of conveying without the added word(s). Semantically, silence signifies what the space is and the word is not.” (Gumpel, Concrete Poetry from East and West Germany)
Edwin Morgan, Into the Constellation: Some Thoughts ion the Origin and Nature of Concrete Poetry:
"I was and I am opposed to concrete poetry, which concretizes nothing because it is not active. It has never been in the streets, it has never known how to fight to save man’s conquest: the street which belong to us, carrying the word away from the printing-press.”
Luciano Ori:
“la poesia visiva attua una vera e propria guerriglia semiologica: spiazza messaggi e significati, li cambia di segno. In pratica ne scompone i materiali iconico verbali per ricomporli in messaggi e significati opposti e diversi.” [Ori, La poesia visiva (1963-1979)]
