Ginsberg's Performance Poetry: The Effect of Transformation of Spoken Words on the Development of the Performance

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Introduction
This study depicts Allen Ginsberg's vision and technique of performance poetry. Ginsberg has a strong belief in this new category of performance poetry or spoken word; This new form may have traded on the credibility of substantial, and this form is seeking to find an audience and create platforms for a living to connect directly with new listeners: also this meeting starts alive between the poet and the people who deal with Ginsberg who shows the defects of his social conditions prevailing in his time, directly with the audience through his poetry volume Howl and Other Poems. So, the study aims to confirm Ginsberg as an intellectual and idealist in a world thriving upon war, consumerism, and ethnocentrism. Ginsberg's literary and cultural engagement is not just focused on his poems nor is it restricted to the United States. His involvement with the Beat Generation in 1948: along with his anti-authoritarian and cosmopolitan intellectualism, led to the release of a countercapitalist language that projected a world torn apart by cultural commercialization, conflict, and consumerism. He and the other Beat Generation members renew the spoken word by performing directly for their audience and country. Somers-Willett in her book "The Cultural Politics of Slam Poetry: Race, Identity, and the Performance of Popular Verse in America," claims that the Poets' assertions of rejected identities on the slam stage are acts of diversity performed out in protest of the (somewhat overstated) uniformity of the official poetic culture similar to its sibling genres of slam poetry and spoken word, performance poetry captures multiple articulations of alienated identities. She examines the politics of determining authenticity while focusing on the interaction of American poets and middle-class readers. So, she sees performance poetry as a site of social practice in which diversity identity is cited, negotiated, and occasionally questioned6 The spoken word is beneficial for performances that integrate the sounds and languages of different cultures and distinctive places or for performances in urban settings where several events occur at the same time. On the other hand, it could argue that poetry performance has evolved in these situations because the conventional poetic language was deemed unsuitable for .  09 

Ginsberg's Performance Poetry: The Effect of Transformation… Mahran & Zidan
the portrayal or performance of life in multicultural metropolitan environments. The significance of the performance place is another vital point of poetry performances, where a community will develop a new interaction between the poet and the audience. Performance poems incorporate features that are not just visually appealing but also vocal and aural. These poems (Howl, Supermarket in California, America, and Sunflower Sutra) contain rhythm, music, imitations of visual sounds, smells, and other senses, frequently used throughout conjunction with other aspects of meaning, to account for the coinciding of the performance of different elements of signification.

Ginsberg's Performance Poetry: the Effect of Transformation of Spoken Words on the Development of the Performance
The study examines the performance qualities and elements in a wide range of poetic forms in the works of Ginsberg. So, the spoken-word is a hallmark of Ginsberg's dramatic performance and explores how spoken word influences his poetry. This research attempts to piece together Ginsberg's ideas and poetic principles from the written accounts, particularly the conception that is still concerned with dramatic performance. One of the purposes of this application is to test whether using elements of poetic theatre in performing enables poetry to reach audiences more quickly. The fundamental question; that pertains to expression and spoken word is how spoken word poetry affects the listener? Could oral word poetry have a performance component? What aspect of a spoken word poetry performance is crucial? What makes performance poetry so powerful? What was the impact of Allen Ginsberg on audiences and readers? Besides, the most outstanding question is, what is the effect of spoken word poetry on performance, audience and the poet himself? Hence, one of the fundamental aspects of Ginsberg's poetic technique is his relying on the suggestive power of performance and spoken word. Spoken word poetry combines spoken and written words; and it must be performed to be fully appreciated. Spoken Word Poetry makes it possible for oral and written language growth to coexist by performing writing in both of these language systems.
Along the same idea of what makes performance poetry so powerful, De La Rosa illustrates in her article "Up next: The epistemic power of spoken word poetry," the ability of spoken word and slam poetry to be "a powerful form of cultural production:" Similar to its artistic and political roots found in the Harlem Renaissance, the Black arts movement, jazz, the beatniks, Hip Hop, and so forth, spoken word and slam poetry are also the outcomes of diverse genealogies that have come to highlight social, political, and spiritual realities, experiences, and cultures of marginalized bodies and identities. As such, spoken word poetry is an example of how performance is a powerful form of cultural production that allows for the creation and expression of alternative and multiple knowledges.
(De La Rosa, P.1) So, performance poetry is an art form that transforms poetry readings into spoken word. Performance can only be carried out live on a stage in front of an audience. For Ginsburg, the use of performance style and its transformation into a living spoken word is not only to attract the audience but to wake them up from the intimate lethargy that the day has come when they must have a fundamental role towards their society and before themselves. Ginsburg's reliance on body language and loud voice in performing poems and sometimes the faint voice are nothing but just the hammer with which Ginsberg knocks on the memory of the audience to interact with him, and this was evident in some stanzas of the poet's verses -which will be displayed and analyzed -and therefore Ginsburg's self-confidence and direct authenticity with the audience showed the clear interaction of the audience, either with laughter or applause, and sometimes absolute silence, and to make all this work, Ginsburg put for himself some steps that he followed in all his poems, which are: firstly, the poet must captivate the audience with the language of the poem. So, he used non-complex language. Secondly, he attempts to bring the audience step by step to better understanding of the poem through their reaction. Thirdly, his .

Ginsberg's Performance Poetry: The Effect of Transformation… Mahran & Zidan
physical presence, voice, body language, tone, ringing words, articulation, and dramatic appropriateness all seem on target and unified to breathe life into the poem and his spoken word. The target is to evoke an emotional response from the audience through reaction to the words spoken on stage. Spoken word poetry is a very approachable art form since it is less complicated in terms of vocabulary and meaning than traditional written poetry. It is more understandable for the average audience because the references are frequently simpler to recognize, and there aren't many hidden meanings. It uses standard poetic devices like rhyme and rhythm in a flexible way that can change from poem to poem and from part to section without following any predetermined principles. Yet, several poetic devices, including alliteration, comparison, and repetition, are frequently utilized to produce powerful spoken word poetry.
Spoken word poetry properly composed and performed will stay with you forever. The emotions of the poet and the energy generated through the lyrics will be palpable in a strong performance. Performance poets use their voices and bodies as poetic instruments. Body language, hand gestures, eye contact, pronunciation, intonation, and voice inflection are crucial tools for establishing the special connection between the poet and the listener that spoken word poetry demands. A performance artist can light up the stage when handled effectively. Finally, his strong belief in performance and respect for the spoken word that will penetrate the mind and conscience of the spectator and that will affect him positively or negatively.
Performance poetry uses spoken word and other public poetic qualities to communicate before it is understood. Also, in dramatic poetry, poetry and performance are combined to create a better kind of poetry and performance that simultaneously has a second and felt influence on the audience and reader. They represent a private and ambiguous idea that has been manifested and made visible to the general public. The performance poet, unlike romantics, traditionalists, or Victorians, drew from his source and from his subject in a wide range of manners and for a range of reasons. He consciously used religious and psychoanalytical concepts to write his history. Also, he experimented with more free-form poetic structures and urged readers to follow the life portrayed in the poems from one book to the next. A broad designation for poetry intended for performance. Although certain spoken word poems are sometimes printed on the page, the genre's origins are in oral customs and public performances. Rap, hip-hop, storytelling, theatre, jazz, rock, blues, and folk music can all be used in spoken word performances. Poetry readings improved the audience's role as a collaborator and interlocutor for new poetry that defied high-brow, polite society, as is evident in Ginsberg's case. One of the breakthroughs advances in English-language poetry is now thought to be the genre of performance poetry.
According to Julia Novak, who illustrates this idea in her book "Live Poetry: An Integrated Approach to Poetry in Performance," that performance poetry is a form of live poetry that includes conventional poetry readings. She declares: Live poetry can be defined as emerging from the fundamental bimodality of the genre of poetryi.e. its potential realization as spoken or written wordas a specific manifestation of poetry's oral mode of realization, which is a parallel to, rather than a mere derivative 'version' of, the written mode. As such, live poetry is characterized by the direct encounter and physical co-presence of the poet with a live audience. The poet will predominantly perform his/her own poetry and is thus cast in the double role of 'poet-performer.' The story and images of the poem are conveyed through the spoken word rather than through theatrical ostension, as focus is placed on the oral verbalization of the poetic text. (Novak,P. 62) Live poetry is a specific expression of poetry's oral mode of realization; that serves parallel to the written method rather than merely a derivative version of the contents. It emerges from the fundamental bimodality of the genre of poetry, i.e., its potential .  03 

Ginsberg's Performance Poetry: The Effect of Transformation… Mahran & Zidan
realization as spoken or written word. Therefore, the direct interaction and physical presence with a live audience define live poetry. Performance poetry and spoken word are simply poetry performed in a public setting which may include prose, poetry, or even storytelling or stand-up comedy.
With ground-breaking poetry like Howl and Other Poems, the visionary poet and leader of the Beat generation Ginsberg helped shape the American counterculture during the second half of the 20th century. The late 1940s and early 1950s Beat Poets, led by Ginsberg and his poem "Howl," mangled vocal and jazz rhythms into poems filled with social and cultural commentary, helping to burst the general acceptance of performance poetry: inspiring a new generation of artists. He was regarded by the avant-garde as a sexually and spiritually liberated spokesman for tolerance.
To Ginsberg, performance poetry has often argued against the political establishment in social, political, and artistic terms. Jonah Raskin addresses the effects of Ginsberg's "Howl" performance at the 6 Gallery in San Francisco, which caused political and poetical shockwaves across the Nation, in his theory on performance poetry. According to Raskin, "Howl" transformed into a poem about coming out after a year of writing and rewriting: sexually, politically, and poetically. It evolved into a poem that discussed both the creation and performance of poetry. The opening passage of "Howl," was initially read aloud at Six Gallery. Ginsberg read with passion, and the audience enthusiastically cheered.
The author Tytell depicts all of these things as a bomb in a museum in his book "Naked Angels: The Lives and Writings of the Beat Generation," and claims that even the rising thrill in his voice inspires future optimism. On October 7, 1955, Ginsberg recited an early version of Howl at Six Gallery, which marked his performing career when he started saying, I saw the best minds of my generation destroyed by madness, starving hysterical naked,

Journal of the Faculty of Arts Port Said University
No. 25, July 2023 dragging themselves through the negro streets at dawn looking for an angry fix, angel headed hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, "Howl" "Howl" a long-lined poem in the traditional performance aspect. It is an outcry of rage and despair against a destructive and abusive society. According to his public pronouncements Schumacher explains in his book "A Critical Biography of Ginsberg," Ginsberg had no intention of reading "Howl" publicly in front of an audience when he performed it. Ginsberg had never spoken poetry aloud before, except for a small number of friends, since Ginsberg would later make public readings one of his methods of publication, and he had no intention of doing so at the time. The fact that the performance at Six Gallery was so well received is noteworthy. "Howl," one of Ginsberg's earliest performances of poetry, demonstrates how quickly he grasped the relationship between spontaneity and orality.
Performance inseparably linked with Ginsberg. Because of the nature of Ginsberg's poems, first-hand objective studies of it are virtually impossible, and his readers or listeners must confine themselves to the accounts of (Ginsberg) autobiographical and biological as Ginsberg himself says that they must experience for themselves. To Ginsberg, a spoken word poet; must become a part of a community asking what that community likes. There are different voices and styles of performance. Ginsberg's poetry usually works as a performance to create a change in the world. Ginsberg performs through his voice, body language, words, and inner feelings. The poem sustains with a background of the poet's old America, the poet does not indulge in sentimental elaboration, but the varied understatement accentuates the tragedy. Ginsberg's pathos reflects in his spoken word. The poem forces the audience to confront a painful reality, with the goal that everyone must die in the end.
Afterward Novak tries to represent this conception in his .

Ginsberg's Performance Poetry: The Effect of Transformation… Mahran & Zidan
book, "Live Poetry: An Integrated Approach to Poetry in Performance," the counterculture of the 1960s eventually "morphed into the cultural wave that the Beats and the Beatniks had launched." Performance poetry has retained its subversive status since that time. It could be found in many different places in the US and the UK, including universities, anti-war rallies, literature festivals, poetry slams, open mic nights, and other "formal settings." (Novak,Vol.153) Also, Cornelia Grabner and Arturo Casas emphasized the location of performance poetry at the interface of the social, the political, and the poetic in the first section of their article "Performing Poetry: Body, Location, and Rhythm in Poetic Performance," which discusses this counterculture viewpoint. They states that: The poetry performance explores the implications of this hybridity and develops the creative possibilities that it opens up, especially for those who find themselves in marginal positions or who experience their identity as multiple. Moreover, the contingency of form and content allows for the conclusion that the performance of poetry as a practice and "performance poetry" as a genre highlight the significance of the cultural for the social and the political, and that it provides artists with a powerful mode of critiquing and challenging mainstream cultures.
(Cornelia& Casas, P.18) In particular, Cornelia and Casas illustrate for those who find themselves in marginal positions or who see their identity as multifaceted, the poetry performance investigates the consequences of this mixture and develops the creative possibilities that it emerges. Additionally, the relationship between form and content supports the assertion that "performance poetry" as a genre and the practice of performing poetry both emphasizes the importance of the culture for the social and political and give artists a powerful tool for challenging and criticizing established cultures.
Following the reading at the Six Gallery, Ginsberg developed an awareness of his audience and started to compose with listeners in mind. Ginsberg penned the first section of "Howl" in one spontaneous session, but he concentrated on and revised the "Moloch" section with the help of his audience: America, I've given you all and now I'm nothing. America two dollars and twenty-seven cents January 17,1956. "America" This poem is a monologue to the poet's self, between America, himself and what he suffers internally and externally inside his country. Ginsberg begins to perform the first two lines of his poem in a sad, quiet, desperate tone. He uses a low pitch spoken word for expressing dismisses or despairs. The emotion of this line strikes the heart of the audience or listener. Ginsberg here with using hints not declaring that is America the land of dreams. Is America looking for the principle of freedom; is this concept just a way to get on the ground. Afterwards, he uses a high pitch oral word to depict strong emotions, when he continued saying, I can't stand my own mind. America when will we end the human war? Go fuck yourself with your atom bomb. "America" Consequently, the poem's line has an impact on the subsequent lines. Ginsberg can make progress with his audience at moments when stillness and quiet are more effective than anything else. These two lines express unease regarding the US nuclear weapon or its terrible rapid destruction. These two phrases also serve as a stark reminder that America is not a nation of dreams. So, the listener must be more aware of these lines the audience must shed light on the poet's performance.
According to Ginsberg, a well-performed poem's spoken word can effectively express facts and fortify the bond between the poet, the performer, and the listener. To connect with the audience, the performer has to inspire them to add their truthful utterances, which is why the rhetorical techniques of performance poetry are so .

Journal of the Faculty of Arts Port Said University
No. 25, July 2023 significant to the poet. So, the objective of this operation is to aid in a more thorough and insightful analysis of performance poetry. In a 1955 assessment of life studies, Ginsberg coined the term "performance" which is still debatable among critics today. The controversy eventually brought the poet's past and sincerity about it to light. Notwithstanding the challenges that the performance mode provides to critics, audiences, and the poets themselves, despite the several alternative notions that have been presented, the term "performance" still arises in helpful discussions of 20 th century and Post-War American poetry. The expression "performance" also refers to the perseverance, variety, and adaptability of confessional writing. It is best to think of Ginsberg's performance as a confessional that is equally concerned with its status, discursive processes, and the qualities and limitations of the method as it is with the actual poetry or ostensibly fundamental "secret." One of the most highly valued ways to arrive at the truth in the West turned into a show. The term "performance," which is essential to the poet's artistic identity, conjures up the notion of a personal worldview. The expression alludes to a formulary in which a society or audience lists the lessons that it considers crucial. Performance poetry has already addressed how intersexuality, character studies, free verse details, and involvement with political, psychological, or social philosophy might embrace objectivity in personal writing.
Ginsberg's cultural impact has to connect to his performance style. The performance poet formerly possessed a remarkable presence and a great ability to persuade others. According to Ginsberg, the listener should be able to better grasp the poetry by listening to the poet's words, which he should be able to express; the poet must employ intonation, emphasis, tone, and communication techniques skillfully to accomplish this. He contributed to broadening the boundaries of personal freedom in America from the 1950s to the 1990s by opening the way for new kinds of artistic, communal, and spiritual expression. In addition to acting as a father figure for the counterculture and a spokesperson of an alternative set of cultural ideals, lifestyles, and literary genres, Ginsberg is a charismatic counter-leader without a distinct movement or followers.

Ginsberg's Performance Poetry: The Effect of Transformation… Mahran & Zidan
The openness of beat poetry and the straightforwardness of some writers prompted Ginsberg to develop a new literary genre, such as performance poetry using free verse and spoken word. Nearly all current American poets became attracted to Ginsberg's modern poetry, but a group of "performance" writers like William Carlos Williams and Jack Kerouac. Themes of Ginsberg's art include his spirituality, jazz, travel, and promiscuity: in addition to New York City life, Buddhism, drugs, and poverty. Ginsberg is recognized for his improvisational prose. Along with other Beats, he helped launch the hippie movement and rose to fame in the underground while he continued to reject some of its outwardly radical elements. Bob Dylan, the Beatles, Jerry Garcia, and the Doors were just a few of the 1960s cultural superstars who were strongly affected by the legacy he left behind. With his charisma and speeches, Ginsberg encouraged other poets, such as William S. Burroughs, Jack Kerouac, and, less directly, Lowell, to modify their works towards the individual voice and open form. He and his fellow "performance" poets, as they were known, sought spiritual intensity, self-transcendence, and confessional immediacy. The reader of Ginsberg's poetry can easily feel his striking creative performance or spoken-word in perceiving unordinary thoughts and objects in new relationships. For him daily speech and experience are "connected with performance and modern life." In the daily world, he found great figurative values and amazing meanings. His performance is often connected with himself and with his characters-all are seen in visions of analogy. The aim of performance, Ginsberg believes, is to "reintroduce you to your beliefs in free will." Each poem is a new vision; a vital exploration; an adventure that leads to "personal achievements." It leads the readers into a world of discovery, fulfillment and helps them grow or close to their world. Ginsberg, who called himself "a permanent traveler," is frequently a psychogeographer without realizing it, someone who is curious and a creator. In a creative and lyrical study, he asks the reader to join him in exploring the liminal area between what is outside and what is inside. He is not merely giving a passive description of his experience. As a result, rather than being a spontaneous poetic revelation, this union between the poet and the listener seems to be a visionary harmony of a particular moment.
Ginsberg draws the inference that a beat and performance poet must discipline his poetry over time and adapt it to the needs of the stage if he wants to perform on stage. Additionally, poets who learn to act as a performer must have a higher propensity to write lyrical poetry than poets who only attempt to write. To be effectively comprehended, the poet must be a creator, communicator, and expositor, and the verse should understand as creative expression. Poetry should be heard, as Ginsberg suggests, as an organic unity because each poem is an organic unity. Through the performance, the audience can understand the facts and appreciate the poet's performance methods in representing them. The listeners should realize their share of responsibility towards events. They must be willing to accept symbolism and a lengthy line of post-modern poetry since the truth may hide within the symbols. The use of performance helped to perfect the internal feelings of the poet and reflected them on the audience and the stage. During his performance, Ginsberg tries to perform and reveal the untold truth about America. "Howl" is just a scream against these incredible events. His audience will see and live the poet's suffering. Moreover, Ginsberg depends on his audience's thought that the eyes are the windows of the soul because, according to Ginsberg, if the windows are blind, the soul is blind and helpless, and at worst, dead or utterly missing. Through the performance of this poem, both the poet and audience will live the same conflict and suffering. Both of them will see and hear each other. So, the spoken word here plays an outstanding role in this poem besides the poet's body language. Certainly, Ginsberg uses spoken word poetry to entertain, educate, and inspire his audience to express themselves. This soul is not parted from the American characters and is dissolved by Cold War politics.
The success of performance poetry seems to have less to do with consistently producing high-caliber work and more to do with putting into practice a few ideas: the audience is not required to listen to the poet; instead, the poet should persuade them to do so; .  33 

Ginsberg's Performance Poetry: The Effect of Transformation… Mahran & Zidan
anyone may judge a spoken word; the spoken word should be accessible to everyone; and all forms of poetry should be included. It is poetry that anyone may access and determine the worth of, at least theoretically. This accessibility is enabled through the use of performance as the medium. Poetry was presented to general audiences in this type of work, which purposely separated it from the academic style and removed academics' ability to analyze it. With performance poetry becoming increasingly popular in most of the United States and poets showcasing their work in theatres and galleries, performance is a phenomenon that seems to have captured the attention of all nations.
The performance raises significant questions about what the spoken word is and how it should be valued, in addition to the social issue of who has access to poetry because challenges are available to and judged by anyone who wishes to participate. Hence, the popularity of spoken word has increased in composition, tone, subject matter, and performing style; this type of writing, which is intended for performance and written with a particular audience in mind, could be broadly referred to as "performance poetry." Most plurality of performance poetry is composed in the first person, is narrative, and is often understood on first listening because it is conveyed in a performing context. Ginsberg tried to set himself apart from the typically abrasive academic and educated conventional poetry listeners to draw audiences through performance. He has used the performing of his manner or flexibility to varying degrees to establish this distance. He frequently used spoken words to criticize what he perceived as injustice. So, the main task in this research is to approve importantly the implication of producing his poems within an environment where the dominant model of oral communication is performance.
Ginsberg tries to dramatize written poetry for stage performance to a live audience. Consequently, this paper analyses essential elements and forms of Ginsberg's poems, particularly that style. The poet attempts to illustrate how tone and other sound poetic devices could serve as fundamental components of poetic dialogue.
He believes that the plurality of his listeners have ears rather than eyes because they can understand poetry through sound, spoken word, sense of words, and eventually feeling. He knows that the spoken word has played an outstanding role in creating places for performance poetry in community centers. He drew his audience's attention by demonstrating the technical aspects of performance poetry. Ginsberg uses both oral and textual communication to try and captivate his audience with his dramatic performance.
The poet conceives of the spoken word as a means to make works of poetic literature available to a larger audience; crucially, the spoken word does not have any effects by itself: people have to use it6 In Ginsberg's case, the poet does this by polishing his performance, which seeks to transcend bitter reality. It is a crucial argument since it has the potential to clarify the analytical viewpoints that contend that the spoken word alone possesses a significant nature6 That immediately stimulates Ginsberg to compose and pre-record his performances on stage, providing him with the brain paleness meditation training Ginsberg justifies as necessary for actual influence. Afterward, the spoken word means a kind of art that is superior and esteemed by another meaning. It refers to those who followed the ancient and traditional matter in their writings, so with Ginsberg, a new rebirth of the spoken word was established at the beginning of the twentieth century when Ginsberg confirmed it in his poems. Oral development, as viewed by Ginsberg, is the process by which one acquires proficiency with a spoken language. Both language and performance methods have sets of rules and structure. Performing language helps to build on oral language, does not iterate it. Spoken word poetry inserts oral language into writing language, which the poetry should be performed in order for it to be appraised. Through both of these languages methods, spoken word poetry allows for the oral development and the writing language to coexist through the act of reading to perform. Ginsberg molds language variation into performing form through the use of poetic poetry to reveal spoken word and performance differences. As performance acquisition continues to develop, the audience will be able to learn and perform in different areas of the world, such as .

Ginsberg's Performance Poetry: The Effect of Transformation… Mahran & Zidan
spoken word. Hence, spoken word poetry can be remarkable as a socio-cultural behavior in related to the call for identity to be revealed through the art of poetic form and performance.
Hence, poetry can be performed or spoken, according to Ginsberg. Poetry's place is determined by the harmony of the two. The performance or spoken word is a distinctive aspect of poetry, and it might be argued that poetry's ability to imply more than it expresses is what defines it as what it is. As a result, the poem demonstrates how Ginsberg's performances vary along dimensions based on his creative intent. This poem aims to expose the truth about this society or to influence the course of the globe. Ginsberg wants the audience to experience the realities of their lives through this poetry. Ginsberg places more emphasis on his audience's subjective thoughts than on objective objectives (rather than objective one). Consequently, "A Supermarket in California" is Ginsberg's first unscripted poem read aloud to a crowd. Ginsberg is experiencing the emotion of a monologue from the moment the poem is read aloud, as the reader will soon learn. Ginsberg converses with himself rather than speaking to or performing for an audience. He can accomplish the goal of the poetry thanks to this emotion. In his mind, Ginsberg performs the poem by himself rather than on stage in front of an audience. Ginsberg's struggles in this poem force him to adopt a darker perspective on American culture. He cannot commend either the rural or urban areas of America as Whitman has done when he states, In my hungry fatigue, and shopping for images, I went into the neon fruit supermarket, dreaming of your enumerations! "A Supermarket in California" In his actual performance, Ginsberg promotes closely examining both the text and the performance for his interpretations. The significance of Ginsberg's performance demonstrates the significant implications of spoken words. His actions and comprehensive perspective are based on sense, emotion, tone, and intention. In addition to his literal value, he also has a sensitive evaluation. The fundamental goal of his performance is to develop a theory of performance value. The arrangement of the poem's impulses allows the poet to achieve equilibrium or tranquility. Ginsberg thinks that as the actual source of any ailment, they might be treated with a peaceful break that includes societal reflection. Not his displeasure with the world around him is evident in this critical situation, Who killed the pork chops? What price bananas? Are you my Angel?
"A Supermarket in California" According to Ginsberg, oral language or spoken word is used to express concept and life experiences of people may have across a variety of concepts. The experiences and interactions of audience influence their attitudes and beliefs about performance and how performance functions in their daily lives. Performance allows audience to use language to exercise power and question of spoken word issues. Therefore, poetry gives these audiences a chance to create a voice in their performing through what they know from their cultural environment. Ginsberg incorporated the rhythms of daily life and jazz into his poetry. He gained notoriety for his performances in coffee shops, theatres, and on street corners in America. He was a pioneer in the use of the spoken word to expose poetry to the general audience. Ginsberg exemplifies how poetry frequently intersects with social justice and protest.
Sunflower Sutra is one of Ginsburg's poetry collections, which represents a private voice and embodies new poetic situations, and a great deal of difference and heterogeneity and full of a lot of aesthetic and semantic richness, as it manifests various and unconventional poetic images that are almost a visual and sound painting for the audience. In that poem, Ginsberg poured many emotional situations where he portrays the negative impact of the industrial revolution on the homeland with all its destruction of landscape. The poet was not satisfied with this watching but brought some poets from the other world to be the witnesses to that tragedy. This tendency towards reality and openness is the core of poetry .

Ginsberg's Performance Poetry: The Effect of Transformation… Mahran & Zidan
since it has produced a depth of sorrow via confession that flows in a condition of disapproval. The poem appears to be an inflexible weapon incapable of confrontation or the capacity for reform. Ginsburg merged his spoken words into a convincing performance that forced the audience to live together with the tragedy. Ginsberg is familiar with people without their social graces. This poem never makes pretense. It is a language of things and thoughts, the poetry of good communication. The poet succeeded in illustrating the landscape of his nation and country life. It was significant that Ginsberg's portrayal of the landscape of his nation plays an outstanding role in characterizing the features of his poems. The poet succeeded in picturing the suffering of his Environment, nature and society. Environment meant everything to Ginsberg. The environment could be a fantastic and creative element for performing his poems. Another poem from Ginsberg's collection Howl and Other Poems that reflected his connection to his immediate surroundings was "Sunflower Sutra." Ginsberg, in his poem, started to illustrate the atmosphere between Kerouac and him saying, I walked on the banks of the tincan banana dock and sat down under the huge shade of a Southern Pacific locomotive to look at the sunset over the box house hills and cry.
Jack Kerouac sat beside me on a busted rusty iron pole, companion, we thought the same thoughts of the soul, bleak and blue and sad-eyed, surrounded by the gnarled steel roots of trees of machinery.
The oily water on the river mirrored the red sky; sun sank on top of final Frisco peaks, no fish in that stream, no hermit in those mounts, just ourselves rheumy-eyed and hungover like old bums on the riverbank, tired and wily. "Sunflower Sutra" It is worth mentioning that-Allen Ginsberg's poetry is influenced by ideas of locations and landscapes in a complex and pluralistic way, whether the words are drawn from an ever-changing geographical setting or originated from a shared sense of place. The overwhelming portions under examination; show a dynamic connection between what; is generated in the poem and what is preserved in consciousness or between what is recoverable through poetry and what has been wasted through time. Here, it should be noted that the comparison revealed several significant distinctions that are exclusive to the industrial era. In front of them, sunset is visible as the speaker and Jack Kerouac sit and reflect on this "sunflower" and the impact that modernity and industry have had on it. The speaker says that this sunflower makes him think of his life in New York before describing how this blossom is fading. By the poem's conclusion, there is still a chance that this sunflower will be lovely and pleasant. In this poem, the words are coated by the crooked metal branches of the woods of industry, which alternately describe America's natural shape and introduce the adverse social consequences of industrialization.
Look at the Sunflower; he said, there was a dead gray shadow against the sky, big as a man, sitting dry on top of a pile of ancient sawdust-"Sunflower Sutra" Throughout performing this poem, the poet used spoken word and body language, two performance modalities that coexist in American nature. His consciousness is the central theme of his poetry and performance. Ginsberg is on the lookout for society and vision consciousness. Even though Ginsberg's consciousness differs from that of his audience, he strives to engage them in conversation; Ginsberg doesn't want his audience to separate itself from civilization, social life, or reality. According to the poet, the new generation should realize the exact problems of their society in order to be able to face them. .

Conclusion
The above study examined the effect of spoken-word poetry on the development of performance of the volume of Howl and Other Poems. This research investigated how the ethos of spoken word performance poetry embodied revolutionary possibilities for a communal vulnerability that also reflected the significant potential for conceptual change. Also, this study revealed that the use of spoken word poetry on the stage impacted the development of the poet's performing. This paper focused on representing and illustrating the performance conception or way Ginsberg showed it in his poems Howl and Other Poems. When Ginsberg began to perform his poems, he meant that the audience could hear the sense of voice by imagining a persona speaking in dialogue. The poet could use different levels of tones with music because the use of performance elements broadens the scope of the poet's experience and the audience's understanding. To understand the poet's words and language, the audience here must realize his style. It meant that the audience or the listener had to hear the tone of voice of his poet, as Ginsberg depicted it; the present sense of the sound was directed by precise context, slang languages, idioms, characterizing characters, and views. It confirmed the idea that performance poetry was one of the requirements of performing and reading modern poetry. Ginsberg strived to persuade the listener to believe his work by giving a speech that was so genuine and powerful that the listener could sense the presence of a guy performing and feeling. So, Ginsberg's practice of his performance poetry was extensive and diverse. Ginsberg was known for being a bold poet. His poetic impulse started with some psychological concern and found its way to a material embodiment which usually included a natural performance. The use of indirect poetic techniques especially spoken word and figurative language reflected its impact on his age.
All of his poems were textbook examples of the use of imagery and poetic device of all kinds. Poetry performed live was unique. The poet's capacity to move the audience with the force of his poetry was the only requirement for speaking the spoken word.