Poetry performance "refers to the cross media exhibition of poetry from paper to sound and stage, and its modern sense of literary consciousness originated from the behavioral experiments of the European avant-garde in the early 20th century. Dadaism and Futurism attempt to alleviate the logical burden of words through sound poetry, emphasizing the auditory reproduction of language. In the 20th century, the United States witnessed the profound influence of poetry performance. After the popularization of phonograph and broadcasting technology, poets such as Millet changed the way they interacted with readers through remote transmission. With the maturity of disk direct recording technology, the Library of Congress and Cadman Records began systematically recording poet readings, making audio poetry a reproducible audio text. Since the 1950s, public poetry reading societies have spread throughout the United States, interpreting the meaning of poetry based on the poet's breath and body. The radical wave movement and the new poetry movement also complement the performance of poetry, which places the embodied experiences of poets and readers back into the semantic field. In the 1970s and 1980s, performance poetry was popular, and the phonological arrangement of poetry emerged in real-time. The use of personal political identity became one of the main designs of poetry, especially in the feminist movement, where performance poetry became an important form of empowerment. The problematization of poetry performance as a specialized term first appeared in Bernstein's collection of essays titled "Listen Carefully" in 1998. Bernstein proposed integrating the modern history of poetry into the history of performing arts and exploring the acoustic dimensions of language from philosophical and linguistic perspectives. He focused his research on two sub topics, sound and performance, which led to two potential branches in the study of poetry performance. The first decade of the 21st century witnessed the flourishing of voice criticism, and in the past decade, research on poetry performance has consciously directed poetic interpretation towards the scene of poetry reading events, focusing on the effects and limitations of poets' bodies, genders, identities, etc. in the performance process. The term 'poetry performance' has developed a relatively stable conceptual exchange with the 'poetry reading club' since the 1950s in its historical context; As a standardized form of poetry performance, it also interacts with numerous literary and artistic models such as poet theater, poetry grand slam, talk poetry, oral poetry, etc. Its already flowing boundaries are constantly being extended.

conclusion

The importance of studying poetry performance was emphasized, pointing out that it can reveal the auditory and performance dimensions of poetry and reconstruct the experience of poetry criticism. The study of poetry performance focuses on how poetry can compensate for the shortcomings of written form through performance, involving poetic art and cultural utility. Research requires cross media awareness, awakening the richness of a single medium through a state of multiple media. The mission of poetry performance research is to constantly switch between book pages and stage, text and sound, and its discourse paradigm is attractive and productive. The current academic attention to poetry performance does not match the multitude of its activity phenomena, and written research is deeply rooted, leading to our "listening object" being full of variability, controversy, and contradictions. Globo proposed that researchers of poetry performance should take the fleeting nature of the object of study as a premise, analyze the traces, faint lights, and remnants of what has already happened, in order to open up new perspectives.