Oral interpretation of translated Chinese poetry is both difficult and audacious. However, non-native readers are less bound by the Chinese literary canon than native readers and therefore are more free to develop their personal taste and discover new modes of expression. As a result, these performers are potentially ideal translators of Chinese poetry for Western audiences. This potential can be realized through the use of metaphoric movement in the performance of classical Chinese poetry. Certain poems could best be performed using group movement because of its potential for exploration of conflict. For the poem, "Facing the Snow," the poet could be represented by two performers, one speaking and one moving, in order to highlight the movement from observation to internalization. For the poem, "Painted Falcon," the interplay between stillness and surface could be depicted by separating the poet/observer and the falcon into two performers. Finally, for the poem, "Night in the House by the River," the tonal movement of the Chinese language could be evoked using synthesizer sounds. A sensitive embodiment of classical Chinese poetry using metaphoric movement and sound can make the works as much a living presence for twentieth century Western audiences as they were for eighth century Chinese readers. (Texts of the three poems are included.) (SRT)