Thursday, December 15 @ 7:00pm
239 Lonsdale Street Chinatown
Has an Open Mic?
Outside the Box Press is proud to present ‘Wide Open,’ the new book from critically acclaimed Cabaret star and performance poet Amy Bodossian. This poignant, moving, and erotic poetry collection, illustrated by the author, is about to be unleashed onto Australian readers, after much anticipation from fans of one of Australia’s most unique, eccentric, and captivating spoken word artists.
Amy has been nominated for a Green Room Award, been on ABCs Spicks and Specks and Please Like Me, performed sell out shows to audiences across Australia, and headlined most of Melbourne’s top spoken word events. Now she is preparing to launch her beautiful and long-awaited new book, ‘Wide Open’, just in time for Christmas!
Launched by Alicia Sometimes, with special performances by top Melbourne poets, Koraly Dimitriadis, Anthony O’Sullivan, Maurice Mcnamara, Emilie Collyer, Yvette Stubbs, and a special comedic performance by Kimberly Twiner
Hosted by Jo Zealand. And of course, Miss Bodossian will be performing a very special set from the book.
“From high speed sex on the highway to domestic bliss. From kissing the dizzying heights of new love to skinning her knees on the concrete of rejection. From fucking amongst her childhood toys to the agony of letting go on the beach at midnight, Amy plunges into the treacherous yet expansive oceans of romantic love with a heart that will not harden. A heart that will always be ‘Wide Open.'”
“Vulnerable, honest, primal, cosmic, elemental and ultimately unforgettable. Amy reminds you of all the hurt and wonder of being alive.”
– Bronwyn Lovell, Winner of the Adrien Abbott Poetry Prize
“This collection holds no punches. It is an invigorating, life-affirming book that celebrates the fierce and the hopeless in all of us.”
– Emilie Collyer, Award winning playwright and author
“Bodossian’s trippy, dippy poetry is a constantly surprising delight. She seamlessly segues into a smokey torch singer, straddling the lines between satire and serious art, sweetness and obscenity, sexiness and gawkiness.”
– The Advertiser
“There isn’t a pigeonhole in existence, no matter how well labelled, that could possibly hold Amy Bodossian. No warning, no apologies.”
– FINGER MAGAZINE
Come buy a copy for your partner, your mum, your unrequited love. Get one to read as you down champagne and cry over your Christmas Turkey! Tis the season!
A night for the poetic sweepings of the inner north to degenerate into sleaze, vitriol, and confusion. And rise into revelation, liberating confession and poetic wisps of the sublime. A feast of clashing waters. All in a cozy artsy pup. No features, no list, no limits. Just put your hand up and come on up. Is your piece not really ready? It is for this gig.
Yoram Symons performing ‘The Whale’ at Melbourne Spoken Word presents Bill Moran at The Provincial Hotel, Fitzroy on September 1, 2017.
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Yoram Symons is an engaging and unique voice on the Melbourne poetry scene, known for his enchanting storytelling technique. Yoram is a writer, poet and VR/AR producer in Melbourne. His performance work is a mixture of hypnosis and intensity, exploring the intersection of history, culture, technology and the personal experience.
Slam. Is this once agent in changing the way we produce and consume performance poetry still relevant?
For those who are not familiar with slam: Slam is a competition format in which poets are given a set time limit to perform their pieces and are then scored by a total of 5 randomly selected audience members, the scores usually range from 1-10 to the nearest 0.1 with the top and bottom scores being dropped in order to avoid bias, giving each poet a final score out of 30. The poet with the highest score at the end of the night wins. There are many variations on this basic format (which was first introduced by Marc Smith) employed by poetry competitions across the globe.
Slam boasts origins in the idea that the people should have a say in the type of content they are presented with. That is, that those who are the predominant consumers of performance poetry or spoken word; the audience should be the deciding party in the kind of work that is allowed recognition and reward. This has given rise to a style of poetry unofficially termed “slam poetry.”
Slam poetry is a term used to define the type of poetry, both in cadence and content, that is likely to score well at slams. A poet who presents poetry predominantly of this style may be called a slam poet. And while slam, by definition, is a format for competition, the world of slam poets and slam poetry is a rapidly growing one with poets who have attained worldwide recognition for their execution of this style of poetry. However, over time and particularly on our extensive and hugely varied poetry scene, the idea that the poetry presented in slam is of an inferior quality is becoming an increasingly held one.
That is to say, there is a specific school of thought which views slam through a lens that portrays the art that is presented on slam stages as simplistic, repetitive and lacking in any depth beyond the concise point that the artist is trying to make in the allotted time limit.