The spoken word applies

The spoken word applies is a Franco-German film drama by İlker Çatak that was released in German cinemas on August 1, 2019.

plot

When the pilot Marion meets the Kurdish male prostitute Baran in Turkey , a flirtation develops between the two. Because Baran wants to escape his poor circumstances, he persuades Marion to take him to Germany. Marion, who is in the midst of a life and meaning crisis and has to digest a cancer diagnosis, enables him a future in Europe through a marriage of convenience . However, the «deal» that the two made cannot be sustained for long.

production

It was directed by İlker Çatak , who also wrote the script together with Nils Mohl .

The film received production funding of 300,000 euros from the Federal Government Commissioner for Culture and the Media , 180,000 euros from the FilmFernsehFonds Bayern plus project development funding of 35,000 euros and from the Hamburg Schleswig-Holstein Film Funding 500,000 euros plus distribution funding of 50,000 euros. In addition, the Franco-German Funding Commission granted project film funding of 220,000 euros.

The shooting took place between September 18 and November 11, 2018 in Hamburg and Turkey . Florian Mag acted as cameraman .

The film celebrated its world premiere on June 28, 2019 as part of the Munich Film Festival . The film was released in German cinemas on August 1, 2019. ^[2] the end of August 2019, he is the Festival of German Films presented. ^[3]

reception

Age ratings and reviews

In Germany, the film was approved by the FSK from the age of 12. The statement of reasons for the release states that children and young people from the age of 12 could easily follow the story and deal with the sensitively staged conflicts and problems without being overwhelmed. “At the beginning of the film, the everyday life of male prostitutes in Turkey is shown very clearly and intensely . These scenes can represent a certain challenge for young people from the age of 12. » ^[4]

Christian Horn from the Gilde deutscher Filmkunsttheater writes that the unusual romance is largely due to the fabulous ensemble. Anne Ratte-Polle and the newcomer Oğulcan Arman Uslu harmonized very well as an actually completely different couple, who have different views, especially with regard to emancipation, and finally come together. The supporting roles were also heavily cast with character mimes such as Godehard Giese , Jörg Schüttauf and Sebastian Urzendowsky , Horn continued, whereby the often immobile shots, the calm narrative flow and the renunciation of small-scale dialogues brought the performance to the fore.^[5]

Manfred Riepe from epd Film remarks that İlker Çatak gets caught up here and there , for example when secondary characters in this integrative love story act as examples of a welcoming culture. How one assesses the film depends on whether one can understand the reasons for which Marion brought the young Turk to Germany. The fact that this self-determined, independent woman takes a younger lover is understandable in and of itself, especially since Anne Ratte-Polle repeatedly sets dramatic accents in this role that are worth seeing. On the other hand, it appears constructed that the self-development of this sympathetic and at the same time broken figure is linked to the politically charged topic of migration .^[6]

In a review in the Dresdner Neuesten Nachrichten it is said that Anne Ratte-Polle embodies this self-confident woman, who does not like to be looked at in the cards, with a downright radiant, personal integrity. With great sensitivity and without melodramatic poses, Çatak explores the love and power relationships in the unequal relationship. In doing so, he repeatedly undermines the expectations that are shaped by stereotypes : “The clichéthe tough career woman is deconstructed here as well as that of the migrant in need. The two struggle to meet at eye level. People enjoy watching and are interested because the film — contrary to what its title suggests — tells about it less in sophisticated dialogues than about emotions that unfold in looks, body postures or the timbre of what is said. » ^[7]

Awards

Bavarian Film Award 2020

• Award for Best Actress ( Anne Ratte-Polle )

German Film Award 2020

• Bronze film award for best feature film ( Ingo Fliess ) ^[8]
• Nomination for Best Director ( Ilker Çatak )
• Nomination for the best screenplay ( Nils Mohl and Ilker Çatak)
• Nomination for the best female lead (Anne Ratte-Polle)
• Nomination for Best Supporting Male Role ( Godehard Giese )

Festival of German Film 2019

• Ludwigshafen Film Art Prize — Honorable Mention ^[9]

Munich Film Festival 2019

• Awarded the New German Cinema Award — Screenplay (Nils Mohl and İlker Çatak)
• Awarded the New German Cinema Award — Best Actor ( Oğulcan Arman Uslu ) ^[10]

Five Lakes Film Festival 2019

• Awarded the DACHS script award (Nils Mohl) ^[11]

Weblinks

• It is the spoken word in the Internet Movie Database (English)
• The spoken word applies at filmportal.de
• The spoken word counts at crew united

Individual evidence

1. ↑ Release certificate for The spoken word counts . Voluntary self-regulation of the film industry (PDF; test number: 190543 / K).
2. ↑ Start dates Germany In: insidekino.com. Retrieved August 1, 2019.
3. ↑ The spoken word counts. In: festival-des-deutschen-films.de. Retrieved July 18, 2019.
4. ↑ https://www.spio-fsk.de/?seitid=2737&tid=469&Vers=1&FGID=5138
5. ↑ Christian Horn: The spoken word counts. In: programmkino.de. Retrieved July 27, 2019.
6. ↑ https://www.epd-film.de/filmkritiken/es-gilt-das-gesobene-wort
7. ↑ Film review of «The spoken word applies» — drama about a marriage of convenience. In: Dresdner Latest News, July 31, 2019.
8. ↑ Prize winners 2020 . In: deutscher-filmpreis.de (accessed April 25, 2020).
9. ↑ The Prize Winners 2019 — Festival of German Films Ludwigshafen am Rhein. Retrieved September 10, 2019 .
10. ↑ https://www.bavaria-film.de/newsroom/foerderpreis-neues-deutsches-kino-es-gilt-das-gesobene-wort-ueberzeugt-doppel
11. ↑ Jochen Müller: Nils Mohl wins DACHS script award. In: Blickpunkt: Film . September 9, 2019, accessed September 10, 2019 .

from Wikipedia, the free encyclopedia

• Wrong entry	the spoken word applies — es gilt das gesprochene Wort
  Corrections	check against delivery — es gilt das gesprochene Wort
  Comment	Ich kann mich irren, halte aber die LEO-Version, wie auch «the spoken word shall prevail», für eine Übersetzung, die fast nur von Deutschen verwandt wird (Google zeigt hier auch fast nur Einträge deutscher Firmen, bzw. Seiten auf). Mich würde interessieren, was die englischen Muttersprachler sagen. Würde man wirklich eine englische Rede mit «the spoken word applies» überschreiben?
  Author	puffin	17 Jun 05, 11:50

  Corrections	agree — agree
  Comment	«Counsel’s opening speech, which summarises the prosecution case, may be released to the media on a ‘check against delivery’ basis, so that it can be published after the jury has heard it.» http://www.comms.gov.uk/guidance/propriety/co… «Please note this speech is issued in advance on a check against delivery basis. Any part of the speech not actually delivered should be regarded as confidential. » http://dsgportal01.dixons.co.uk/wps/portal/!u… «Asked whether Downing Street would view it as an act of defiance if Mr Hain decided not to remove the passage, the PMOS said that it was important to wait and see what text would be issued. He reminded journalists that, as was always the case with speeches that were pre-briefed, it was important to «check against delivery». » http://www.number-10.gov.uk/output/page3985.asp «Journalists are advised to check against delivery. » http://www.nhsalliance.targaweb.co.uk/press/2… 1/2
  #1	Author	Archfarchnad -gb-	17 Jun 05, 12:25

  Corrections	— — —
  Comment	I’m not familiar with this phrase but it apparently means that journalists should not publish speeches which have been given to them in advance until they have listened to the speech itself and checked that the words they want to quote were actually delivered. The phrase is written at the start of draft speeches. So I support the entry, as it’s used in just the same way as the German phrase. And in fact here’s the same speech in German and English from the EU: «The Prime Minister’s speech at the Prime Minister’s residence, Marienborg, north of Copenhagen 30 June 2002 – meeting with Youth 2002 Check against delivery — It is a great pleasure to welcome you here on Marienborg before the start of the Youth 2002-project on the future of Europe» http://europa.eu.int/constitution/futurum/doc… «Rede des Ministerpräsidenten auf seinem Amtssitz Marienborg im Norden Kopenhagens 30. Juni 2002 – Treffen mit Youth 2002 Es gilt das gesprochene Wort. — Es ist mir eine große Ehre, Sie hier in Marienborg vor Beginn des Projekts Youth 2002-über die Zukunft Europas begrüßen zu dürfen» http://europa.eu.int/constitution/futurum/doc…
  #2	Author	Archfarchnad -gb-	17 Jun 05, 12:25

  Comment	Thanks for checking Archfarchnad! Here is another link I found and which supports my suggestion — it even has the French equivalent (Doris, there are various others if you google for both terms at once): http://europa.eu.int/comm/scic/interpreter/20…
  #3	Author	puffin	17 Jun 05, 14:11

  Corrections	check against delivery — es gilt das gesprochene Wort
  #4	Author	anna	17 Jun 05, 22:19

Словосочетания

Перевод по словам

speak  — говорить, выступать, разговаривать, высказываться, высказывать, изъясняться
word  — слово, известие, речь, обещание, текст, вести, сформулировать, выражать словами

Примеры

Примеры, ожидающие перевода

From Wikipedia, the free encyclopedia

This article is about a performance art. For recordings of books or dialog, see Audiobook. For the 2009 film, see Spoken Word (film).

Spoken word refers to an oral poetic performance art that is based mainly on the poem as well as the performer’s aesthetic qualities. It is a late 20th century continuation of an ancient oral artistic tradition that focuses on the aesthetics of recitation and word play, such as the performer’s live intonation and voice inflection. Spoken word is a «catchall» term that includes any kind of poetry recited aloud, including poetry readings, poetry slams, jazz poetry, and hip hop music, and can include comedy routines and prose monologues.^[1] Unlike written poetry, the poetic text takes its quality less from the visual aesthetics on a page, but depends more on phonaesthetics, or the aesthetics of sound.

History[edit]

Spoken word has existed for many years; long before writing, through a cycle of practicing, listening and memorizing, each language drew on its resources of sound structure for aural patterns that made spoken poetry very different from ordinary discourse and easier to commit to memory.^[2] «There were poets long before there were printing presses, poetry is primarily oral utterance, to be said aloud, to be heard.»^[3]

Poetry, like music, appeals to the ear, an effect known as euphony or onomatopoeia, a device to represent a thing or action by a word that imitates sound.^[4] «Speak again, Speak like rain» was how Kikuyu, an East African people, described her verse to author Isak Dinesen,^[5] confirming a comment by T. S. Eliot that «poetry remains one person talking to another».^[6]

The oral tradition is one that is conveyed primarily by speech as opposed to writing,^[7] in predominantly oral cultures proverbs (also known as maxims) are convenient vehicles for conveying simple beliefs and cultural attitudes.^[8] «The hearing knowledge we bring to a line of poetry is a knowledge of a pattern of speech we have known since we were infants».^[9]

Performance poetry, which is kindred to performance art, is explicitly written to be performed aloud^[10] and consciously shuns the written form.^[11] «Form», as Donald Hall records «was never more than an extension of content.»^[12]
Performance poetry in Africa dates to prehistorical times with the creation of hunting poetry, while elegiac and panegyric court poetry were developed extensively throughout the history of the empires of the Nile, Niger and Volta river valleys.^[13] One of the best known griot epic poems was created for the founder of the Mali Empire, the Epic of Sundiata. In African culture, performance poetry is a part of theatrics, which was present in all aspects of pre-colonial African life^[14] and whose theatrical ceremonies had many different functions: political, educative, spiritual and entertainment. Poetics were an element of theatrical performances of local oral artists, linguists and historians, accompanied by local instruments of the people such as the kora, the xalam, the mbira and the djembe drum. Drumming for accompaniment is not to be confused with performances of the «talking drum», which is a literature of its own, since it is a distinct method of communication that depends on conveying meaning through non-musical grammatical, tonal and rhythmic rules imitating speech.^[15][16] Although, they could be included in performances of the griots.

In ancient Greece, the spoken word was the most trusted repository for the best of their thought, and inducements would be offered to men (such as the rhapsodes) who set themselves the task of developing minds capable of retaining and voices capable of communicating the treasures of their culture.^[17] The Ancient Greeks included Greek lyric, which is similar to spoken-word poetry, in their Olympic Games.^[18]

Development in the United States[edit]

Vachel Lindsay helped maintain the tradition of poetry as spoken art in the early twentieth century.^[19] Robert Frost also spoke well, his meter accommodating his natural sentences.^[20] Poet laureate Robert Pinsky said, «Poetry’s proper culmination is to be read aloud by someone’s voice, whoever reads a poem aloud becomes the proper medium for the poem.»^[21] «Every speaker intuitively courses through manipulation of sounds, it is almost as though ‘we sing to one another all day’.»^[9] «Sound once imagined through the eye gradually gave body to poems through performance, and late in the 1950s reading aloud erupted in the United States.»^[20]

Some American spoken-word poetry originated from the poetry of the Harlem Renaissance,^[22] blues, and the Beat Generation of the 1960s.^[23] Spoken word in African-American culture drew on a rich literary and musical heritage. Langston Hughes and writers of the Harlem Renaissance were inspired by the feelings of the blues and spirituals, hip-hop, and slam poetry artists were inspired by poets such as Hughes in their word stylings.^[24]

The Civil Rights Movement also influenced spoken word. Notable speeches such as Martin Luther King Jr.’s «I Have a Dream», Sojourner Truth’s «Ain’t I a Woman?», and Booker T. Washington’s «Cast Down Your Buckets» incorporated elements of oration that influenced the spoken word movement within the African-American community.^[24] The Last Poets was a poetry and political music group formed during the 1960s that was born out of the Civil Rights Movement and helped increase the popularity of spoken word within African-American culture.^[25] Spoken word poetry entered into wider American culture following the release of Gil Scott-Heron’s spoken-word poem «The Revolution Will Not Be Televised» on the album Small Talk at 125th and Lenox in 1970.^[26]

The Nuyorican Poets Café on New York’s Lower Eastside was founded in 1973, and is one of the oldest American venues for presenting spoken-word poetry.^[27]

In the 1980s, spoken-word poetry competitions, often with elimination rounds, emerged and were labelled «poetry slams». American poet Marc Smith is credited with starting the poetry slam in November 1984.^[18] In 1990, the first National Poetry Slam took place in Fort Mason, San Francisco.^[28] The poetry slam movement reached a wider audience following Russell Simmons’ Def Poetry, which was aired on HBO between 2002 and 2007. The poets associated with the Buffalo Readings were active early in the 21st century.

International development[edit]

Outside of the United States, artists such as French singer-songwriters Léo Ferré and Serge Gainsbourg made personal use of spoken word over rock or symphonic music from the beginning of the 1970s in such albums as Amour Anarchie (1970), Histoire de Melody Nelson (1971), and Il n’y a plus rien (1973), and contributed to the popularization of spoken word within French culture.

In the UK, musicians who have performed spoken word lyrics include Blur,^[29] The Streets and Kae Tempest.

In 2003, the movement reached its peak in France with Fabien Marsaud aka Grand Corps Malade being a forerunner of the genre.^[30][31]

In Zimbabwe spoken word has been mostly active on stage through the House of Hunger Poetry slam in Harare, Mlomo Wakho Poetry Slam in Bulawayo as well as the Charles Austin Theatre in Masvingo. Festivals such as Harare International Festival of the Arts, Intwa Arts Festival KoBulawayo and Shoko Festival have supported the genre for a number of years.^[32]

In Nigeria, there are poetry events such as Wordup by i2x Media, The Rendezvous by FOS (Figures Of Speech movement), GrrrAttitude by Graciano Enwerem, SWPC which happens frequently, Rhapsodist, a conference by J19 Poetry and More Life Concert (an annual poetry concert in Port Harcourt) by More Life Poetry. Poets Amakason, ChidinmaR, oddFelix, Kormbat, Moje, Godzboi, Ifeanyi Agwazia, Chinwendu Nwangwa, Worden Enya, Resame, EfePaul, Dike Chukwumerije, Graciano Enwerem, Oruz Kennedy, Agbeye Oburumu, Fragile MC, Lyrical Pontiff, Irra, Neofloetry, Toby Abiodun, Paul Word, Donna, Kemistree and PoeThick Samurai are all based in Nigeria. Spoken word events in Nigeria^[33] continues to grow traction, with new, entertaining and popular spoken word events like The Gathering Africa, a new fusion of Poetry, Theatre, Philosophy and Art, organized 3 times a year by the multi-talented beauty Queen, Rei Obaigbo ^[34] and the founder ^[35] of Oreime.com.

In Trinidad and Tobago, this art form is widely used as a form of social commentary and is displayed all throughout the nation at all times of the year. The main poetry events in Trinidad and Tobago are overseen by an organization called the 2 Cent Movement. They host an annual event in partnership with the NGC Bocas Lit Fest and First Citizens Bank called «The First Citizens national Poetry Slam», formerly called «Verses». This organization also hosts poetry slams and workshops for primary and secondary schools. It is also involved in social work and issues.

In Ghana, the poetry group Ehalakasa led by Kojo Yibor Kojo AKA Sir Black, holds monthly TalkParty events (collaborative endeavour with Nubuke Foundation and/ National Theatre of Ghana) and special events such as the Ehalakasa Slam Festival and end-of-year events. This group has produced spoken-word poets including, Mutombo da Poet,^[36] Chief Moomen, Nana Asaase, Rhyme Sonny, Koo Kumi, Hondred Percent, Jewel King, Faiba Bernard, Akambo, Wordrite, Natty Ogli, and Philipa.
The spoken word movement in Ghana is rapidly growing that individual spoken word artists like MEGBORNA,^[37] are continuously carving a niche for themselves and stretching the borders of spoken word by combining spoken word with 3D animations and spoken word video game, based on his yet to be released poem, Alkebulan.

In Kumasi, the creative group CHASKELE holds an annual spoken word event on the campus of KNUST giving platform to poets and other creatives. Poets like Elidior The Poet, Slimo, T-Maine are key members of this group.

In Kenya, poetry performance grew significantly between the late 1990s and early 2000s. This was through organisers and creative hubs such as Kwani Open Mic, Slam Africa, Waamathai’s, Poetry at Discovery, Hisia Zangu Poetry, Poetry Slam Africa, Paza Sauti, Anika, Fatuma’s Voice, ESPA, Sauti dada, Wenyewe poetry among others. Soon the movement moved to other counties and to universities throughout the country. Spoken word in Kenya has been a means of communication where poets can speak about issues affecting young people in Africa. Some of the well known poets in Kenya are Dorphan, Kenner B, Namatsi Lukoye, Raya Wambui, Wanjiku Mwaura, Teardrops, Mufasa, Mumbi Macharia, Qui Qarre, Sitawa Namwalie, Sitawa Wafula, Anne Moraa, Ngwatilo Mawiyo, Stephen Derwent.^[38]

In Israel, in 2011 there was a monthly Spoken Word Line in a local club in Tel-Aviv by the name of: «Word Up!». The line was organized by Binyamin Inbal and was the beginning of a successful movement of spoken word lovers and performers all over the country.

Competitions[edit]

Spoken-word poetry is often performed in a competitive setting. In 1990, the first National Poetry Slam was held in San Francisco.^[18] It is the largest poetry slam competition event in the world, now held each year in different cities across the United States.^[39] The popularity of slam poetry has resulted in slam poetry competitions being held across the world, at venues ranging from coffeehouses to large stages.

Movement[edit]

Spoken-word poetry is typically more than a hobby or expression of talent. This art form is often used to convey important or controversial messages to society. Such messages often include raising awareness of topics such as: racial inequality, sexual assault and/or rape culture, anti-bullying messages, body-positive campaigns, and LGBT topics. Slam poetry competitions often feature loud and radical poems that display both intense content and sound. Spoken-word poetry is also abundant on college campuses, YouTube, and through forums such as Button Poetry.^[40] Some spoken-word poems go viral and can then appear in articles, on TED talks, and on social media sites such as Twitter, Facebook, and Instagram.

See also[edit]

References[edit]

Further reading[edit]

• «5 Tips on Spoken Word». Power Poetry.org. 2015.

External links[edit]

• Poetry aloud – examples

Today’s guest post is by Avery White. Avery writes short stories and spoken word, and is currently working on his first novel for middle grade readers. He runs thirdpersoncreative.com, a site dedicated to weaponizing stories against injustice, prejudice, and passivity in the world around us.

“Respect the poet!” the crowd shouts at a couple at the bar oblivious to what’s going on.

Silence.

Slowly, alliterative spoken word sends chills across my neck, down my arm, and into my chest.

I’m feeling words as my eyes stare rapt at the stage.

Literary devices fly with syllables punctuated by inflection. Poetry one line, prose the next. The performer pauses. It’s 2008, and I’m hooked.

I was first introduced to spoken word while taking a creative writing class in college. I then got involved with a local spoken word community in Bryan, Texas called Mic Check, where the scene above happens weekly.

And today, I’m showing you how to craft your own powerful spoken word piece.

How to Speak Spit Spoken Word

What!?

You mean you weren’t born with an innate ability to write poetry, combine it with performing arts techniques, and rhythmically deliver a piece with clever intonation?

Performance poets weren’t either. Even if their names are Sarah Kay or Madi Mae.

Do you have feelings?

Do you wish you could let them go out, terrorize the neighborhood for a bit, and then come home to you without doing any damage (the kind that costs you money)?

Got a pen?

Let’s do this. Here are four steps to writing spoken word:

1. Tell a Story

If you’ve never written spoken word before, you might feel overwhelmed, unsure where to start. But this type of writing isn’t as foreign as you might think. It can follow the same pattern as a conventional story: exposition, rising action, climax, falling action, and resolution.

First, pick a theme you’re passionate about. Putting something down on paper knowing that you’re going to read it out loud later is terrifying, but having passion from the start will help carry you through. And if you’re a writer, you need practice putting fear down anyways!

While there are as many ways to begin writing as there are poets, a way that I have found particularly effective is to start with a “gateway line,” a single line that captures your theme. For example:

• “Do not keep the silence golden.”
• “Looking past Earth.”
• “Life is not ajar.”

To demonstrate this, I’ll write a (short) piece around the following line:

“Practice is failing on purpose.”

Now that I have my gateway line, I’m ready to revisit my dramatic structure: what can I surround my line with? At this point I might make a list of a few plot options:

• A little boy learning to ride a bike
• A guy practicing how he’s going to start a conversation with the girl of his dreams
• A girl exploring the definition of true beauty

I fully intend to reveal something about practice that applies to craft development, but I’m going to do it by juxtaposing it with something wildly different. This will show the audience something about practicing their craft, as well as the subject of the plot.

Spoken word lets you do that. How cool is that!?

2. Flesh It Out

Now that you’ve chosen your plot, it’s time to flesh it out into a story illustrating your theme. This is where you, as the writer, get to shine! How compact can you make it?

At this point you might be thinking that this is remarkably similar to writing anything else. You’re exactly right — it is. That’s why I’m writing this out, to show you that you can do it!

I’ve decided to write a piece about an eight-year-old boy who decides to try to ride his bike sans training wheels. Now, I ask questions to flesh that concept out:

What does he look like? Where is this? How long as he been trying to do this? Why is this important?

Most importantly, why should my audience care about him?

First draft:

Age eight with skinned knees bleeding from the last attempt he pushes two blue wheels uphill.

This time.

Salt touches his tongue as he tilts his face towards the summit. This was his Everest.

He was done training. The two wheels sat lifeless in the garage watching him from a distance.

He believed that with enough speed he could roll forever. The extra weight only slowed him down.

He fought to push the past crashes from his mind as he trudged up Mount Failure.

This was his practice.

3. Read It Out Loud

Once you have something down, read it out loud to evaluate how it sounds. Do you like what you hear?

Spoken word fills the gap between predictable patterns found in traditional forms of poetry and the art of prose. Every literary device, every poetic device, and anything clever you can think of to do while you’re on stage is all fair game. For now, let’s revisit the first draft, tighten the diction, and spice things up with a bit of poetry.

Second draft:

Age eight, and skinned knees pleading he pushes two blue wheels uphill.

This time.

Salt touches tongue as dirt-faced determination drives him to the summit. His Everest.

Two training wheels cry abandoned. Concrete floors and walls lined with tools can get so lonely.

He believed that with enough speed he could roll forever.

Long enough to run the errands that his mother couldn’t.

He fought to push past crashes and knee slashes from his mind as he scaled Mount Failure.

This was his practice.

4. Perform

Now that you like what you’re hearing, start asking performance related questions. This could include questions related to theatre, music, or even dance.

Do you want a part of it to read faster to give it more of a hip-hop sound? Or slower to make it more dramatic? Either way, it’s up to you to figure out how you’re going to read it.

And there you have it — four steps to writing your first spoken word.

Do you write spoken word poetry? What do you find most challenging about it? Let me know in the comments.