Lyrikline je platforma na kojoj pjesme svjetskih pjesnika možete čuti u izvorniku te ih čitati u izvorniku i u prijevodima. Trenutačno je arhivirano 882 pjesnika koji recitiraju na 57 različitih jezika. Ako vas ne zanima poezija, ovo je izvrsna zvučna panorama ljudskih jezika kao ambijentalnih zvukova. Ljudski cvrkut.
Authors - A-Z
© gezett.de
The picture above shows all poets who took part: l.t.r. Martin Solotruk (Slovakia), Gabrielė Labanauskaitė (Lithuania), Olga Ravn (Denmark), Claudia Gauci (Malta), Jen Hadfield (United Kingdom), Zoltán Tolvaj (Hungary), Filipa Leal (Portugal), Luigi Nacci (Italy), Tom Reisen (Luxembourg), Gwenaëlle Stubbe (Belgium), Ester Naomi Perquin (Netherlands), Jonáš Hájek (Czech Republic), Sotos Stavrakis (Cyprus), Yannis Stiggas (Greece), Edward O’Dwyer (Ireland), Marko Pogačar (Croatia), Maarja Kangro (Estonia), Gregor Podlogar (Slovenia), Christoph Szalay (Austria), Jean-Baptiste Cabaud (France), Jenny Tunedal (Sweden), Harry Salmenniemi (Finland), Arvis Viguls (Latvia), Josep Pedrals (Spain), Svetlana Cârstean (Romania), Georgi Gospodinov (Bulgaria), Agnieszka Wolny-Hamkało (Poland). Katharina Schultens (Germany) is not on the picture.
In renshi.eu, the last line of each
poem became the first of the next, thus connecting each poet to his/her
predecessor. There were five groups with six to seven poets in each,
creating five side-by-side chain poems by authors with 23 different
native languages. Find all texts and translations as well as the audio
recording on lyrikline.org
renshi.eu [GR-ES-IE-CY-PL-AT-GR]
renshi.eu [GR-LU-IT-EE-SE-HU-PT-GR]
renshi.eu [GR-LV-UK-CZ-MT-HR-GR]
renshi.eu [GR-RO-FI-SK-NL-LT-FR-GR]
renshi.eu [GR-SI-BE-DE-DK-BG-GR]
Greece, as both the focus of the economic crisis and the birthplace
of European culture and democracy, was the jumping off point for this
Renshi. The Greek poet Yannis Stiggas’s poem was used as the starting
point and basis for all five groups. At the end, he also wrote a final
verse that reflected on the extant traces of his own lines in the
writing of the other authors.renshi.eu [GR-LU-IT-EE-SE-HU-PT-GR]
renshi.eu [GR-LV-UK-CZ-MT-HR-GR]
renshi.eu [GR-RO-FI-SK-NL-LT-FR-GR]
renshi.eu [GR-SI-BE-DE-DK-BG-GR]
lyrikline.org was a cooperation partner of renshi.eu. Many thanks to the partners of the lyrikline.org network who helped to organise this project: Absoluteville / Absolute Poetry, Ars Poetica-International Poetry Festival, Casa Fernando Pessoa, Croatian P.E.N. Centre, Estonian Literature Centre, Institute ramon llull, Koperator – The International Cultural Programme Centre, Latvian Literature Centre, Literature Across Frontiers, Literaturwerkstatt Berlin, Nederlands Letterenfonds / Dutch Foundation for Literature, Nuoren Voiman Liitto / Runokuu Festival, Petöfi Irodalmi Múzeum, Rámus förlag, Romanian Culture Institute Berlin.
1 comment
new translations on lyrikline.org/ neue Übersetzungen auf lyrikline.org
These are the latest translations published on lyrikline.org:
Into English: Jazra Khaleed (Greece), Maya Sarishvili (Georgia)
Into French: Christian Filips (Germany), Jazra Khaleed (Greece)
Into German: Garouss Abdolmalakian (Iran), Baktash Abtin (Iran), Édith Azam (France), Ali Babatschahi (Iran), Arno Calleja (France), Luis Chaves (Costa Rica), Elena Fanajlova (Russia), Martín Gambarotta (Argentina), Albane Gellé (France), Dmitrij Golynko (Russia), Sam Hamill (USA), Jazra Khaleed (Greece), Mansour Momeni (Iran), Fiston Mwanza Mujilla (Congo/Austria), Pascal Poyet (France), Arseni Rovinski (Russia), Vital Ryzhkou (Belarus)
Into Italian: Elena Fanajlova (Russia)
Into Japanese: Jazra Khaleed (Greece)
Into Russian: Laurynas Katkus (Lithuania), Lutz Seiler (Germany), Tomas Tranströmer (Sweden)
Into Serbian: Jazra Khaleed (Greece)
Into Spanish: Jazra Khaleed (Greece)
- – - -
Dies sind die neuesten Übersetzungen, die auf lyrikline.org veröffentlicht wurden
Ins Deutsche: Garouss Abdolmalakian (Iran), Baktash Abtin (Iran), Édith Azam (Frankreich), Ali Babatschahi (Iran), Arno Calleja (Frankreich), Luis Chaves (Costa Rica), Elena Fanajlova (Russland), Martín Gambarotta (Argentinien), Albane Gellé (Frankreich), Dmitrij Golynko (Russland), Sam Hamill (USA), Jazra Khaleed (Griechenland), Mansour Momeni (Iran), Fiston Mwanza Mujilla (Kongo/Österreich), Pascal Poyet (Frankreich), Arseni Rovinski (Russland), Vital Ryzhkou (Belarus)
Ins Englische: Jazra Khaleed (Griechenland), Maya Sarishvili (Georgien)
Ins Französische: Christian Filips (Deutschland), Jazra Khaleed (Griechenland)
Ins Italienische: Elena Fanajlova (Russland)
Ins Japanische: Jazra Khaleed (Griechenland)
Ins Russische: Laurynas Katkus (Litauen), Lutz Seiler (Deutschland), Tomas Tranströmer (Schweden)
Ins Serbische: Jazra Khaleed (Griechenland)
Ins Spanische: Jazra Khaleed (Griechenland)
Into English: Jazra Khaleed (Greece), Maya Sarishvili (Georgia)
Into French: Christian Filips (Germany), Jazra Khaleed (Greece)
Into German: Garouss Abdolmalakian (Iran), Baktash Abtin (Iran), Édith Azam (France), Ali Babatschahi (Iran), Arno Calleja (France), Luis Chaves (Costa Rica), Elena Fanajlova (Russia), Martín Gambarotta (Argentina), Albane Gellé (France), Dmitrij Golynko (Russia), Sam Hamill (USA), Jazra Khaleed (Greece), Mansour Momeni (Iran), Fiston Mwanza Mujilla (Congo/Austria), Pascal Poyet (France), Arseni Rovinski (Russia), Vital Ryzhkou (Belarus)
Into Italian: Elena Fanajlova (Russia)
Into Japanese: Jazra Khaleed (Greece)
Into Russian: Laurynas Katkus (Lithuania), Lutz Seiler (Germany), Tomas Tranströmer (Sweden)
Into Serbian: Jazra Khaleed (Greece)
Into Spanish: Jazra Khaleed (Greece)
- – - -
Dies sind die neuesten Übersetzungen, die auf lyrikline.org veröffentlicht wurden
Ins Deutsche: Garouss Abdolmalakian (Iran), Baktash Abtin (Iran), Édith Azam (Frankreich), Ali Babatschahi (Iran), Arno Calleja (Frankreich), Luis Chaves (Costa Rica), Elena Fanajlova (Russland), Martín Gambarotta (Argentinien), Albane Gellé (Frankreich), Dmitrij Golynko (Russland), Sam Hamill (USA), Jazra Khaleed (Griechenland), Mansour Momeni (Iran), Fiston Mwanza Mujilla (Kongo/Österreich), Pascal Poyet (Frankreich), Arseni Rovinski (Russland), Vital Ryzhkou (Belarus)
Ins Englische: Jazra Khaleed (Griechenland), Maya Sarishvili (Georgien)
Ins Französische: Christian Filips (Deutschland), Jazra Khaleed (Griechenland)
Ins Italienische: Elena Fanajlova (Russland)
Ins Japanische: Jazra Khaleed (Griechenland)
Ins Russische: Laurynas Katkus (Litauen), Lutz Seiler (Deutschland), Tomas Tranströmer (Schweden)
Ins Serbische: Jazra Khaleed (Griechenland)
Ins Spanische: Jazra Khaleed (Griechenland)
VERSschmuggel / RéVERSible
Machen Sie mit bei einem kreativen Poesie-Transfer
von ARTE, Literaturwerkstatt Berlin, dem Deutsch-Französischen
Jugendwerk und SWR 2. Ihre Aufgabe: Wagen Sie sich an Ihre eigene
Übertragung des Gedichts Tagesmutter von Tom Schulz ins Französische oder Je, cheval von Albane Gellé ins Deutsche. Oder präsentieren Sie eines der beiden Gedichte als Video- oder Audioclip (maximal 7 Minuten).
Einsendeschluss:
1.7.2012 für die Übersetzungen
15.9.2012 für Audio- und Videoclips
Ihr Engagement wird belohnt!
Albane Gellé auf lyrikline.org
Tagesmutter von Tom Schulz auf lyrikline.org
Einsendeschluss:
1.7.2012 für die Übersetzungen
15.9.2012 für Audio- und Videoclips
Ihr Engagement wird belohnt!
- Die beiden Dichter Tom Schulz und Albane Gellé suchen sich jeweils ihre Lieblingsversion aus und nehmen diese mit auf ihre Lesereisen in Deutschland und Frankreich im Herbst 2012.
- Die jeweils 3 besten Beiträge in allen 3 Sparten werden auf den Webseiten der Kooperationspartner ARTE Creative, SWR2, Literaturwerkstatt Berlin und Deutsch-Französischem Jugendwerk vorgestellt.
- Voraussichtlich werden die besten Audioclips in einer SWR2 TANDEM Sendung und die besten Videoclips in einer Sendung auf ARTE vorgestellt.
- Außerdem erwarten Sie schöne Buchpreise als Dankeschön fürs Mitmachen (u.a. die zweisprachige Anthologie, die zeitgleich auf beiden Seiten des Rheins erscheinen wird: in den Verlagen Das Wunderhorn (Heidelberg) und La passe du Vent ( Lyon)
Albane Gellé auf lyrikline.org
Tagesmutter von Tom Schulz auf lyrikline.org
Uljana Wolf @ Poetry International Web
Photo: Katja Zimmermann
Literaturwerkstatt Berlin took over the German editorship of PIW again in 2010, and has prepared four poets for this portal since:
Ann Cotten
Daniel Falb
Barbara Köhler
Uljana Wolf
From early May 2012, there will be a newly built website, which will combine the PIW archive with the current website of the Poetry International Foundation (including all the information about the annual festival in Rotterdam).
World Poetry Day 2012 – Looking at Poetry & Film
Since 2002 Literaturwerkstatt Berlin, which is also home to lyrikline.org, has been organising the biannual ZEBRA Poetry Film Festival,
showing short films that are audio-visual realisations of one or more
poems. At this point, the archive is already filled with thousands of
entries from the past 10 years. They show the exciting and multifaceted
approaches of artists from different cultures to combining poetry and
film. Works are sent from all over the world that range classic motion
picture to animated shorts, video and media art, poetry performance
clips, and documentaries about poets. They’re based on poetry from
Shakespeare to sound poems. The filmmakers’ individual conceptions are
as varied as the names they attribute to their works: poetry videos,
videopoetry, poetry film, filmpoetry, poetry clip, cinepoem and more.
Diverse as the entries might be, there’s one thing that all the good ones have in common: they succeed if one can experience in some way a clever and maybe even poetic relationship and correspondence between the words and images. When poetic principles and features, such as rhythm, tempo, meter, imagery, denseness, and tone unfold, poetry and film together can reach another level and merge into something unique.
On the occasion of this year’s UNESCO World Poetry Day, next to publishing many new poets on lyrikline.org, we collected statements focusing on poetry & film from filmmakers, poets, and film and literary scholars (see below). Many thanks to Paul Bogaert, Avi Dabach, Tom Konyves, J.P. Sipilä, and Uljana Wolf!
If you would like to join the discussion about poetry and film, the audio-visual realisation of poetry and its many variations, or see more films, please visit the ZEBRA Facebook page, the ZEBRA youtube channel or explore Moving Poems, an online anthology of poetry videos.
Diverse as the entries might be, there’s one thing that all the good ones have in common: they succeed if one can experience in some way a clever and maybe even poetic relationship and correspondence between the words and images. When poetic principles and features, such as rhythm, tempo, meter, imagery, denseness, and tone unfold, poetry and film together can reach another level and merge into something unique.
On the occasion of this year’s UNESCO World Poetry Day, next to publishing many new poets on lyrikline.org, we collected statements focusing on poetry & film from filmmakers, poets, and film and literary scholars (see below). Many thanks to Paul Bogaert, Avi Dabach, Tom Konyves, J.P. Sipilä, and Uljana Wolf!
If you would like to join the discussion about poetry and film, the audio-visual realisation of poetry and its many variations, or see more films, please visit the ZEBRA Facebook page, the ZEBRA youtube channel or explore Moving Poems, an online anthology of poetry videos.
Poetry & Film: statement by Tom Konyves
I
am interested in the most advanced form of poetry film; I call the form
videopoetry and I define it as “a genre of poetry displayed on a
screen, distinguished by its time-based, poetic juxtaposition of images with text and sound.”
It
has two constraints: (1) Text, displayed on-screen or voiced, is an
essential element of the videopoem (work which does not contain visible
or audible text could be described as poetic, as an art film or video art, but not as a videopoem); and (2) the imagery in a videopoem – including on-screen text – does not illustrate the voiced text.
The
key to a good videopoem is balance – the weighing of image-text
relationships for their suggestive (rather than illustrative) qualities,
the determining of durations, the positioning and appearance of text,
the proportioning of color, the layering of the soundtrack, the
acceleration or deceleration of elements, etc. In the editing or
“montage” phase, syntactical decisions are made to render
image-text-sound juxtapositions as a metaphor for simultaneous
“meanings”, which the viewer interprets as a poetic experience.
Here’s a poetry film that impressed me:
Claire Walka’s “Kleine Reise” (A Little Trip) –
In our everyday lives, the artist finds clues to poetry; commonplace
details, like the lines of a poem, are placed and sequenced with the aid
of a video camera and intimate whispers.
Tom Konyves
produced his first videopoem in 1978; for the past 3 years, he has been
visiting film and video archives, researching and presenting talks
about the form.
Poetry & Film: statement by J.P. Sipilä
What I do is videopoetry. It has a somewhat different approach to
film and poetry than poetry film. I see poetry films as visual and
kinetic illustrations of certain poems. But as far as videopoetry is
concerned, video and sound are not mere reflections of certain poems,
but a puzzle or juxtaposition of the three elements (video, sound and
text). As videopoet Tom Konyves says: “”Videopoetry is a genre of poetry
displayed on a screen, distinguished by its time-based, poetic
juxtaposition of text with images and sound. In the measured blending of
these 3 elements, it produces in the viewer the realization of a poetic
experience.”
Here’s a poetry film that impressed me:
This piece dating back to 1978 can be considered the first videopoem, the starting point of it all, if I may say so. Of course there have been films and works that could be somehow understood as videopoetry in the past, for example Jean Cocteau’s Le Sang d’un Poète from 1930. However this piece by Tom Konyves entitled Sympathies of War is something that made way for a new genre of poetry. Something that is nowadays known as videopoetry.
A good videopoem creates a new overall poetic experience
from the three elements used. For me the video is the paper and screen
is the mouth of my poetry.
Sound and visual aspects have always had a huge effect on my poetry. I
usually read poetry while listening music and when I see a piece of art
I somehow automatically start thinking a story or a feeling behind it.
Using video as a medium for my poetry was a step that was just waiting
to be taken.Here’s a poetry film that impressed me:
This piece dating back to 1978 can be considered the first videopoem, the starting point of it all, if I may say so. Of course there have been films and works that could be somehow understood as videopoetry in the past, for example Jean Cocteau’s Le Sang d’un Poète from 1930. However this piece by Tom Konyves entitled Sympathies of War is something that made way for a new genre of poetry. Something that is nowadays known as videopoetry.
J.P. Sipilä is a Finnish poet. He released his first book of poetry in 2006 and began making videopoems at the same time.
Poetry & Film: statement by Uljana Wolf
Like
a translation, and like poetry itself, or perhaps like prose poetry, or
the prose poem—already we see the problem here—a poetry film exists in a
between-space, a Zwischenraum. It can not be named. It can
only be invented with each attempt; its inability to occupy a name or a
space or a genre is what generates these attempts to create something
that is true to its name. It will fail every time.
Uljana Wolf (born
1979) is a German poet. She lives in Berlin and New York and was a
member of both the programme commission and the festival jury of the
ZEBRA Poetry Film Festival.
Poetry & Film: statement by Paul Bogaert
Poetry
Film City is in danger. To avoid it becoming a poster-like island that
is overgrown with kitsch, a warehouse of beautiful animations or a hell
of text illustrations, I think more poets should visit the City. To
occupy a street or two, to copulate with film makers and sound experts,
to enjoy a holiday or just to inspect the place of abuse.
Looking at a poetry film, I want to experience that it must have been made. ‘It’s Being a film based on a poem’ is not enough reason to make a poetry film. I also want to have the illusion that no other choices or combinations could have been possible.Using a good poem (a poem that survives when separated from the film) is a condition, but not a guarantee for a good poetry film. The visible or audible presence of a poem can easily hide the fact that there is no poetry in the poetry film. A good poetry film doesn’t only contain a poem, it doesn’t only facilitate interaction between text, image and sound, but it also has ‘poetic’ qualities as a whole. A good poetry film is a film that I want to see again. And again.
An excellent poetry film is ‘YOU AND ME’ (2009) by Karsten Krause. A timeline made of love and four decades of footage. ‘Bourgeois show off’ meets ‘erotic slavery’. The lovebird lines and rhymes we hear are only a few times in sync with what’s (not) said. Nostalgia (toxic in its pure form) is countered by a cruel ‘fast forward’. The moving mix of images, playful-polite lines and subtle soundtrack appear to be the fuel for a death reminder.
Paul Bogaert (born 1968, Belgium), poet: “Most poetry films are based on or inspired by an existing poem. I think that doing it in the reverse way can yield good results too. I like writing the text and making the film simultaneously. It’s a complex thing to do, but it questions my normal process and it stretches the margins of my work.”
“Poetry film makers certainly have to consider the language problem. Can the poetry survive the screening when the used language is (too) foreign to the movie watcher? Subtitles are not always a solution and translations can be bad, or too difficult in a bridge-language (often English).”
You can listen to Paul Bogaert‘s poetry on lyrikline.org.
Poetry & Film: statement by Avi Dabach
I’m often asked by viewers or colleagues to define what poetry film
is. For a long time, I would define it by explaining what it isn’t
(it’s not a film about poetry, nor poets, etc.). Then I heard Bob
Holman, an American poet, saying that there is no such thing as poetry
film, but only different kinds of poetry: there is the spoken or
performed poetry—the most ancient kind. The second type is written
poetry, and even though it can be read aloud in public, it is more a
text than a show.
The third kind is the filmed poem, or since the HD era, the Video Poem—a type of visual poetry. The basis for most video poems is written poetry, but for good video poems, the written words are only an inspiration. The words become part of a new poem created by the director. The video has a strong and complex relationship with the written poem, but it is no longer the same piece of art.
One of the best video poems “Nach grauen Tagen” by Ralf Schmerberg (select #9), takes the words and transforms them into a visual and emotional situation, and creates a new visual poem with its own meaning and beauty.
Avi Dabach, Born 1972, Jerusalem. Directed a dozen of video poems as well as documentaries and experimental films.
The third kind is the filmed poem, or since the HD era, the Video Poem—a type of visual poetry. The basis for most video poems is written poetry, but for good video poems, the written words are only an inspiration. The words become part of a new poem created by the director. The video has a strong and complex relationship with the written poem, but it is no longer the same piece of art.
One of the best video poems “Nach grauen Tagen” by Ralf Schmerberg (select #9), takes the words and transforms them into a visual and emotional situation, and creates a new visual poem with its own meaning and beauty.
Avi Dabach, Born 1972, Jerusalem. Directed a dozen of video poems as well as documentaries and experimental films.
