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The author examines the performative status of a poetic work. Following T. Różewicz, he points to non-textual and potential forms of poetry’s existence. As a counterbalance to excessive adherence to textocentrism, he proposes functionalizing the tools of the new humanities (R. Nycz) and the theory of affect (B. Massumi) in the analysis of the creative act. The author indicates ways of studying the poetic experience with reference to the performative actor model (W. Baluch). Demonstrated voice recordings of poetic performances in the context of Dramatic Theory of Literature (A. Krajewska) are examples of gaining special insight into experience and dramatic self-discovery.
Marek Pieniążek (Wed,) studied this question.