Whilst revising an old -studio-type play, I re-confused myself with re-reading some old linguistic and semiotic gumph.

As the `characters` in the play are virtually static (don`t hold your breath about seeing it performed) I was very interested in the semantic possibilities of facial and severely limited physical gestures in a small studio space.

Given that poets usually perform in fairly restricted spaces and that poems are not mere recitals, but are often regarded as some sort of linguistic `speech act` it occurred to me: does the audience make the same distinction between poet and person as they do between acting role and person with actors in the theatre?

If not, why not?

Sort of related. I'm naturally quite a shy person although I am exhilarated by giving a performance... after the fact. I adopt a persona to pull it off and almost feel like another person. The gestures change, the voice changes and I just slip into this. I don't examine it too closely in case it magically disappears.

I don't think audiences have quite as high expectations of poets as they do actors or musicians. Many none poets suspect they will be bored to tears before listening to you. Other poets will possibly have more tolerance and show more appreciation - though it's not a given...

The trick is to surprise non poets and be worthy of other poets tuning in. You do that by learning how to perform your poetry. For me that involves everything - hand gestures, the way you stand, the speed and tone of your recital, the way you connect with your audience, the way you make your words come alive.

It's great if you can learn words off by heart - but not an absolute necessity - being at ease on the stage is helpful though. It's nice to concentrate on someone's words rather than the way they are saying it.

Having something interesting to say too. When you think about it, actors are just parroting someone else's words - but a poet reading their own words can be a wonderful thing, if the words do something for you.

Every once in a while, the performance of a poem is so intensely meaningful for the poet that the audience almost holds its breath. They connect with the significance and the emotion, and something remarkable can take place. These moments are very special. How could they happen in a theatre? Theatre does have some extraordinary moments, but they are not usually personal in this way, unless perhaps a theatre is being used for a performance of a biographical monologue. Even then, what happens is usually a polished performance by someone 'up front'. At an open-mic it is something raw from 'one of us'. Someone steps from the ranks of the audience and bares their soul. How can the theatre match that?

I recently went to see my very first performance poetry gig (don't worry I'm not being converted).
Roger McGough appeared nearby and my wife and I went to see him.

A consummate professional as one would imagine and hilarious in an understated manner. It was almost like watching stand-up (of which I have similarly little experience).

I purchased a couple of books afterwards and was somewhat dismayed by the opulent fawning of many of those doing the same as me. Many grabbed camera pics with the celebrity.

When it was my turn for the signature he asked me what I would like him to write and I replied "keep trying" would be nice.

Hs instant reply "what, is that you or me?"

Graham, Mr. McGough's response is my idea of the real thing. Thanks for sharing such a great moment.

But 'fawning' is a big word for the wish to have a photo together, and 'opulent' no less. Wouldn't I just enjoy a little 'opulent fawning'! (I think. Maybe not. It is a delicious thought, though.)

Harry, I think there is a distinct difference between poets and actors, unless the poem is a recitation of another person's work. With one's own work, intimate exposure is always present, and always a bit scary. Those poets who assume too many 'theatrics' often overshadow the connective value of the poem itself. The comments already submitted are excellent.

I am submitting an article on 'Performance Poetry' this week, asking for permission to share my ideas which I feel will make the activity more effective for poet and listener.