The poetry of New York School poet Frank O’Hara is often discussed within intermedial contexts, but mostly limited to the intermedial connections between his poetry and painting. However, a closer examination reveals that the pictorial quality in O’Hara’s poetry is fundamentally connected to performance. This connection is rooted, on one hand, in the tradition of American poetry since Walt Whitman, and on the other hand, deeply influenced by historical avant-garde artists. Additionally, the intermedial performance of O'Hara's poetry also has its unique contemporary socio-cultural context, namely the rise of neo avant-garde art and the post-war American consumer culture, and the intermedial performance of his poetry manifests as a tension between the embodied performance and the spectacle performance of mass media.

In the face of a folk art world in the 1960s that was confined to political propaganda and “unplugged” forms, Bob Dylan emphasized the dynamic production of poetry through stage performance. Bob Dylan's performance practice on stage, as art generated by language, pulls poetry out of its textual framework and infuses it with musicality, liveness and performativity. According to John Searle's discourse on the performativity of language, it is clear that all language is a form of action, and Bob Dylan's performances begin with language and end with action. Performativity is expressed in Bob Dylan's art as “events” that serve as transitions and changes, which breaks with Derrida's claim that performance is the power of quotation and repetition, and seeks to balance the stylized repetition of meaning with the resistance that is generated by repetition. Bob Dylan's tour of upwards of 3,000 shows exemplifies the dialectic of repetition and subversion in performativity, demonstrating the same source lyrics and divergent individual experiences for performances in different situations and contexts, the performativity of these performances is at once quotative and at the same time interventionist and resistant to quotability. Bob Dylan moves back and forth between the triple space of text, song, and stage, radically merging poetry, chant, and performance to recapture the sensual aesthetics of folk art and simplicity. These poetic performances form Bob Dylan's artistic autonomy in a way that marginalizes the hegemony, creates a symbiotic experience of identity between the audience and the singer in performance scenarios across time and space, and generates positively divergent forces within an audience with differences in gender, class, ethnicity, and geography, thus dissolving the paradoxes that arise within performativity.... -referential stylistic repetition and resistance to pre-existing styles. Bob Dylan and the audience perform poetry to generate a new type of narrative that is different from the lyrics and the experience of the audience, where the story sung by the singer is highly integrated with the personal experience of the audience, transcending the didactic values of good and evil, and thus liberating the audience from the constraints of the distributive experience. Against the backdrop of Hans Lehmann's “theatricalization of space,” Bob Dylan, both poet and singer, emphasizes that poetry is theatrical in nature, and that the space in which a song is performed is a situation in which the internal structure of the theatre has been transmogrified, thus activating the theatrical effect of poetry.

This study examines the emergence of Allen Ginsberg’s poetry performance in the context of the post-World War II revival of modernism. It traces Ginsberg’s engagement with both the Beat Generation coterie and a broader cultural sphere, analyzing his deviation from conventional textuality in the framework of New Criticism. Emphasizing spontaneous creation and performative practice, the study explores his interactions with various artists and art collectives, highlighting the manifestation of his "shock" aesthetics as a means of sensory stimulation and transcendence of everyday life. Through the lens of voicing impulse, presence, and performance space, this research investigates how Ginsberg’s work engages with diverse media forms, revealing innovative avenues in poetic expression. Furthermore, the study explores the transformation of Ginsberg’s poetry performance in response to technological media and religious influences, considering how it engages with and influences social politics and popular culture. Drawing upon influence studies and inter-media theory, the paper situates Ginsberg’s poetry performance within the broader genealogies of modernism, lyric poetry, and 20th-century cultural history.