Publié le 15 octobre 2012

Programme de la conférence

Vous trouverez ici, en anglais le programme complet de la conférence pédagogique sur l’écriture créative de l’EACWP, du 6 au 9 novembre 2012.




INTERNATIONAL PEDAGOGICAL CONFERENCE
Comprehensive programme
November 6th to 9th 2012

November 6th and 7th 2012

Aleph-Écriture - 7, rue Saint-Jacques, 75005 Paris - Ground floor
Workshop « Feedbacks », Nora Ekström


Aleph-Écriture - 15, rue Saint-Jacques, 75005 Paris - 1st floor
Workshop « Comment conduisons-nous nos ateliers ?
 », Philippe Chenot

November 8th 2012

Institut finlandais - 60, rue des Écoles, 75005 Paris
9.00-9.30 am Welcome coffee

9.30-10 am Introducing the 1st EACWP International Pedagogical Conference
Javier SAGARNA (Spain/EACWP president), Alain ANDRÉ (France/Aleph-Écriture president),

10.15-11 Lecture 1
Reijo VIRTANEN (Finland).“Teaching ironical writing as an attitude towards life”

Irony in writing has been typically taught as a rhetorical figure of speech : “irony means saying something while meaning something else”. Such formalistic way of teaching may lead to some witty and amusing experiments that may have occasional value. But it does not lead to very deep and wise humor.
Alternatively, you may teach ironical writing as a carnivalistic philosophical method. The lecture will show one case in Oriveden Opisto from early autumn 2012, and represent some basic results of the course.
11.00-11.15 am Repartition in Aleph-Écriture’s classrooms for the Mini-lectures sessions

11.15 am-1 pm Mini-lectures sessions 1

Institut finlandais - 60, rue des Écoles, 75005 Paris
Mini-lectures session 1a : Fiction and non-fiction


Elena VARVELLO (Italy), “Teaching storytelling : the shaping of experience”
“What is art if not a concentrated and impassioned effort to make something with the little we have, the little we see ?” If this is art, then what is teaching writing about ? How do we have to do it ? As a writer and a teacher, I work specifically on the idea of storytelling : an ancient gesture, profoundly related to experience and life itself. There are no general rules, and the point is not only to learn to write well, doing many “homeworks” and dealing with technical issues, or, less then ever, learning some tricks. The point is to bring to light our own stories and to search for the right way to tell them – the authentic voice. So, how can we help our students to become good storytellers, able to give shape to their deepest experience – their memories, their fears, their desires, their obsessions ?
Marie HALOUX (France), “Writing at work”
The professional papers (papers realized within the framework of the exercise of a job/business) request relatively technical skills :

  • a control (master’s degree) of information, messages to be passed on and, decision-making
  • a knowledge of the interlocutors : their logic and strategy of intervention
  • an anticipation on the effects of a communication in the name of a department, of an institutional entity... and a peculiarity which implies a subjectivity to be socialized. As the subject is producing a text, something of himself is intrinsically inferred in this inscription of the text.
    Supported by examples of professional papers (field of social work), the questioning will concern the implication of the writing of the subject in professional contexts : quid of the subjectivity of the writing in professional frames packages ?
    Fred LEEBRON (United States), “The field of available time in narrative”
    How the function of time can be taught in creative writing workshops ? This paper will look at model texts and propose a method of talking about creative writing that allows us to integrate the true “largeness” of time when addressing narrative in workshop.

    Aleph-Écriture - 7, rue Saint-Jacques, 75005 Paris - Ground floor
    Mini-lectures session 1b : Documentary writing ?


    Orhan KIPCAK (Austria), “Media education for creative writing workshops”
    In the last 20 years the so-called New Media Revolution has shaped new paradigms also for the literary production. These phenomena are – shortly summarized : hyper-textualisation, mediatisation, the development of new communicative and collaborative scenarios of text production, new ways of distribution and value-chains in connection with medial products like texts are. These phenomena are important for the teaching of creative writing. The lecture will present curricular concepts dealing with these topics and will show some of their results.
    Jarmo VALKOLA (Finland), “Ideas for teaching documentary scriptwriting”
    This lecture deals with documentary scriptwriting, the different forms of it, and especially the crucial questions of how we can approach it and how we can teach the ideas in it to students of this special genre ? Case study extracts contain examples of new student documentaries made at Baltic Film & Media School in Tallinn University.
    Javier SAGARNA (Spain), “Reading in creative writing teaching”
    Reading is incorporated to the learning programmes of Escuela de Escritores as one of the basis of our system. From initial levels to the most advanced ones, teachers prepare a list of books (or stories) to read and comment, in order to build, in a parallel process, a reader and a writer in every student. Or a writer who reads and uses this reading to grow as a writer. Make contact with literature (not only with books), learn to read it in a critical but personal way, and discover the techniques that a wide range of writers use to build up their stories are some of the achievements of a system that is being used both in our classroom courses and in our on line courses. A brief overview of our methodology will be given on this lecture.

    Aleph-Écriture - 15, rue Saint-Jacques, 75005 Paris - 1st floor
    Mini-lectures session 1c : Teaching for children and youngsters


    Enrica AJO (Italy), “Why girls are better than boys quite in everything”
    Anyway, I’m not very interested, or better, I’m not interested at all in teaching creative writing to adults. I always preferred children, and young girls to young boys, even if I was often told not to mention it. It’s a matter of fact : girls are better than boys, quite at every age, and for sure in writing. Maybe they are not best sellers on Amazon.com but that’ s a problem with how the society still is and not about the quality of the female sense or sensibility.
    I taught creative writing only to children, and this would be my second focus in the lecture : the reason why I prefer teaching to children and the reason why to me only teaching to children is more than just a money exchange.
    Harri Istvan MAKI (Finland), “Teaching creative writing to children”
    Children love to use their imaginations as they create through fiction writing. Once a teacher prepares students for a writing action, teacher simply needs allow their creative to flow. The following examples in my presentation are simple strategies that will make possible a teacher to start young students off on the right foot.
    Free writing, journaling, collaborative writing and writing from prompts are all easy and relaxed ways to get students thinking and writing.
    Radek MALY (Czech Republic) “How to teach literature to children and youngsters (some Czech specificities)”
    In the Czech Republic, teaching how to write children’s and young adult literature does not have much of a tradition. Nevertheless, it is obvious that precisely this field has a great potential : it enables students to acquire and practice the basics of the craft of writing in poetry, fiction and drama, while also teaching them to get rid off certain stereotypes. These include opinions such as “writing for children is much easier than writing for adults” or “children read only fairy-tales”.

    Aleph-Écriture - 7, rue Saint-Jacques, 75005 Paris - 1st floor to the right
    Mini-lectures session 1d : French session (lectures in French)


    Dane CUYPERS (France), “Working style in creative writing workshops : illusion or challenge ?”
    Style ? Voice, touch, inspiration… “Style, which is the mark, in the work, of the presence of the author” (Jean-Claude Milner). “To restore the world’s truth through one look that style enhances in vision” (Camille Laurens). Style, therefore, intimately tied to what is said, written. Certainly. But here we have a large palette of tools, recipes, basic techniques that allow, if the basis is there, to deepen it, to fix it, to enhance it, to expand it. This work on the paste may even lead to new writing paths : to work the form will enhance the content. Maybe. We can at least try…
    Manuela RAVECCA (Italy), “Documentary gifts : from writing to the object”
    When we speak of biographical refunds, we intend a text, but also a media or an object, which is able to give back a testimony received ; a testimony that returns in the form of a gift within a relationship biography. Through narratives-mirror the adult, whoever he is, has the opportunity to reorganize the narrated experience.
    Laurence FAURE (France) : “Teaching playwriting”
    Comedian and creative writing teacher, before I even worked at Aleph, I had very soon the wish to make the students write after their improvisation in drama workshop. As part of my work at Aleph, I also use prompts created from contemporary writers’ work for the stage. And I lay the stress on the oral reading of the first drafts, more than on a plain creative writing workshop : this kind of writing is just made to be said. The challenge is to make the participants (who sometimes neither do drama nor go to theater) understand that they have the opportunity to create this : somewhere, something is happening to someone.

    2.30-4 pm Mini-lectures sessions 2

    Institut finlandais-60, rue des Écoles, 75005 Paris
    Mini-lectures session 2a : Poetry and Emotions


    Luis LUNA (Spain), “Teaching poetry : some keys and tricks”
    Poetry is a new way to look, perform and re-build the world. Perhaps, teach this art is very difficult because it is essential to understand the keys to connect the pupil’s world, words and a poetic way of thinking. Teaching this rare way to look is the first trick for feeling the language, for feeling the Word like a living organism. But how to teach these tricks ? First we need to read and imitate the Word of the masters, after that we need to find our own Word.
    Simona GARBARINI (Italy), “From the dostoyevskyan idea of emotional strength to creative writing courses”
    Often, during creative writing courses, people seem not to be able to focalize which kind of story they want to tell. Sometimes they write a story with few-no pathos because when they write they don’t get into contact with their deep inner feelings. My lecture will be about exercises that I use in my courses in order to help students to focus on what they really want to tell, exercises derived from dostoyevskyan concept of emotional strength.
    Béatrice DUMONT (France), “About poetry in my workshops”
    How can we enable trainees to write poetry, especially contemporary
    poetry ? It is well known, from at least the beginning of the twentieth century, that writing poetry doesn’t mean only to express the pain in your heart, your feeling of death, nature, time passing by or the bitter sweetness of your first love, using beautiful images and metaphors. For the eighties, poets have been exploring new forms and topics, playing with language as never before. It can be pleasant (and funny) to allow trainees to follow them on this way, watching the surrounding world with distance and humor, taking down what is considered so obviously or writing their poem as a score or keeping a word in their mouth to put it down as it sounds on the sheet of paper.

    Aleph-Écriture - 7, rue Saint-Jacques, 75005 Paris - Ground floor
    Mini-lectures session 2b : Distant learning and creative writing


    Frédérique ANNE (France), “Teaching by e-mails : shaping innovation”
    Talk proposal by using email to conduct writers’ workshops allows us to adapt to a growing demand and reach out to a different public. We must ask ourselves what can we do to perfect this new workshop structure to ensure the authenticity of a creative writing workshop. Which proposals, which feedbacks, which work upon texts ? Which dynamics will emerge to solidify the group and optimize members’ communication and feedback ? What specific exercises and tools should be put in place to ensure the best possible dynamic ?
    Mariana TORRES (Spain), “How to keep alive an online course”
    The idea of this proposal is to share my experience in online courses, but from a methodological way, not a technical one. The secret of the success during an online course is not technical : the tools are there to help teachers and students, but the really important point to focus here is a method to keep alive this kind of course : a kind of course with not real contact between teachers and students. We will explore different ways to keep warm and healthy an online classroom.
    Fred LEEBRON (USA), “An analysis of the modes of distance learning”
    This paper will present an analysis of distance learning workshops versus distance learning tutorials, the two modes in which distance learning is delivered in this digital age. I will compare my experiences directing the Pan-European MFA (tutorial) vs the Queens of Charlotte MFA (workshop).
    Aleph-Écriture - 15, rue Saint-Jacques, 75005 Paris - 1st floor
    Mini-lectures session 2c : Creative processes

    Catherine STAHLY-MOUGIN (France), “About the notebook, as a tool for works in process”
    Diary, notebook, by many ways, they’re bound and what distinguishes them is more about the posture, the way of using them. Having a notebook whenever one wants to note something, exercises the attention, heightens our senses and develops our feeling towards the world around. Throughout my experience in my workshops, I explored the various matters the notebook contains. One invents the use of the notebook : it doesn’t let itself catch in a definite frame. I will talk about this small polymorphic object in which creation is discernible and how it accompanies a work in progress.
    David Jan NOVOTNY (Czech Republic) : “About the scriptwriting workshop as a training process (from basic idea to second draft)
    Assignment : Triangle – one of the oldest themes, cliché par excellence, nihil nuovo sub sole ;
    Conflict : clash of interests ;
    Characters : chick chaser, woman in love 1, woman in love 2 ;
    Emotions : Love, jealousy, hate, revenge
    Grand finale : death
    Analyzing 1st draft,
    Inspiration, incorporation of new ideas
    Rewriting (assignment must be kept : triangle, infidelity, hate, revenge, death)
    2nd draft as an outcome of creativity.

    Monica CRESPO (Spain), “Creative process in writing working groups”
    To share our writing process in a group produces a different relationship between participants in workshops : working alone on one’s own text, story or novel is a lonely travel, and writers usually live the creation experience in a personal and lonely silence. Silence is necessary for creation but writers that are in writers’ communities, may be in creative writing workshops, develop writing in a sharing process that makes writing grow with a different and new energy. We will try to think and talk about this process of creation inside creative writing workshops.
    4.15-5.45 pm Panel discussion and workshops

    Institut finlandais-60, rue des Écoles, 75005 Paris
    Panel discussion 1

    Ana MENENDEZ (USA/Nederlands) + guests : Javier SAGARNA (Spain), Alain ANDRÉ (France)
    “Is the workshop dead - what about the return to reading as the basis of creative writing instruction ?”
    In 1936, the University of Iowa introduced the first creative writing degree program in the United States. The model it introduced – a workshop of a dozen or so students led by a senior writer – remained relatively unchanged for 75 years. But slowly some universities are breaking the Iowa mold by returning to the classical pedagogies – namely studying the masters. At the University of Maastricht, workshops are still part of the instruction, but a much smaller part. The majority of what we do is teach writing through lots of reading, discussion, and specially targeted exercises. This panel will offer a 10-minute lecture of Maastricht’s program followed by a panel discussion : “Is the workshop dead ?” Ana Menendez.

    Aleph-Écriture - 7, rue Saint-Jacques, 75005 Paris - Ground floor
    Workshop 1


    Linda LAPPIN (Italy), “Using myth : a focus on KATABASIS”
    The hero/heroine’s descent to the underworld is a crucial phase in the universal myth of initiation and provides the archetypal underpinnings of many contemporary works of fiction, poetry, and memoir. Using classical sources and contemporary remakes dealing with Katabasis, this workshop will guide participants through the writing of their own downward journey in the medium of their choice. Emphasis will be placed on finding new pedagogical approaches to myth and mythology in teaching creative writing to young adults.

    Aleph-Écriture - 15, rue Saint-Jacques, 75005 Paris - 1st floor
    Workshop 2


    Kate MOORHEAD (Grande Bretagne), “Inventing characters”
    The workshop would consist of two distinct writing exercises which work as jumping off points for creating characters. One creates a character through close inspection of the character’s personal effects and living space and the second uses photographs and a questionnaire. A third exercise places these two characters in a location and develops them more deeply through dialogue and the consideration of what is spoken and what is left unsaid and should leave the participants with a solid ’beginning’ for a longer creative work. It is a fun workshop which involves reading what is written out loud and encourages discussion amongst the participants.

    November 9th 2012

    Institut finlandais - 60, rue des Écoles, 75005 Paris

    9.30-10 am Welcome coffee

    10-11 am Lecture 2
    Daniel SOUKUP (Czech Republic) : “Teaching writing in a foreign language : an overview of classroom situations”

    Using concrete examples, the lecture introduces some typical challenges involved in teaching writing in a foreign language. It briefly outlines a possible systematic approach towards this phenomenon, aiming to generalize unique teaching experience, and thus make it available for future teachers.

    11.15 am-1 pm Mini-lectures sessions 3

    Institut finlandais-60, rue des Écoles, 75005 Paris
    Mini-lectures session 3a : Pictures, sound and voice

    Françoise KHOURY (France) : “Shooting pictures and writing”
    Finding new narrative forms by connecting two mediums
    (text/photography), decompartmentalizing disciplines, transgressing frontiers that can be related to the concept of “intermediality”, were the origins of my interest for photography and text assemblage. During this presentation, I will first expose the ins and outs of this exploration, then pursue with how I organized these workshops for the participants, finding ideas in a didactic way in the works of writer-photographers and photography or literary critics. Finally, I will expose the positive effect of this practice on the participants, based on a few examples.
    Denis BOURGEOIS (France) : “Sound as a step in the writing process”
    For the last 7 years, I have been running a MFA program where the first year is named « Writing for the radio ». I built the whole training with this idea that sound comes first, and writing later. Several workshops experiment the transformation of sounds in words. Through examples, I will show the principles of this method. The process could lead to alternate ways of learning how to write stories.
    Marina GELLONA (Italy) : “A time for intoxication : finding one’s own voice in writing”
    In The Unbearable Lightness of Being, Milan Kundera speaks about the moment when the protagonist stays in front of the mirror trying to see herself, her own self, despite the alikeness to the mother. When she succeeds, then it’s a time of intoxication, it’s the time in which the identity of her voice comes out and sings loud. It seems to suggest that to be able to see one’s own identity is a question of time, of endurance, of wish, of solitude, of sight. I’d like to present how and why I introduce this image to the students of creative writing, to show the quality of a research in writing a story and of a flow of a creative process, until the time of intoxication happens.

    Aleph-Écriture - 7, rue Saint-Jacques, 75005 Paris - Ground floor
    Mini-lectures session 3b : About the workshop device


    Marianne JAEGLÉ (France), “Prompts : between technical ability and writing desire”
    How do we create prompts ? With which purpose ? What can we consider as to be a good prompt ? With which criteria ? In a creative writing course, giving prompts may be necessary in order to help the writers to go ahead in their work and in their discovery of their own writing. This lecture could discuss the following points : the difference between a pattern and a theme ; the purpose of the prompt (giving technical ability and stimulate the desire to write) ; examples of prompts ; "ready made prompts", and so on.
    Laure NAIMSKI (France), “The creative writing workshop as a jazz orchestra”
    There is a small difference between a creative writing workshop and a jazz orchestra. Throughout my experience, both as a jazz saxophonist and a creative writing teacher, I will quickly explain the similarities between those two worlds. Then, I will focus on the way those similarities provide pedagogical tools to build my own creative writing
    workshops. A kind of tools box every teacher can use. No need to know jazz music to do so. Just to be all ears.
    Dario HONNORAT (Italy) : “To master a language : a story with a beginning and no end”
    My paper will start with the adventurous story of my experiences as a student of creative writing from the very beginning : a fast summary of everything has been asked to me to write since I was born. Then I will talk more in detail of my two years at Scuola Holden, the teaching approaches and methodologies that are used there. Then I’ll talk about my recent experiences as a teacher and how I personalized some activities and lessons I learned in Scuola Holden. I will talk about some experimental activities I did with my students. I will also make a brief parallel between the teaching of Italian as a second language and the teaching of creative writing, emphasizing the things they have in common : most of all the need for practice and interaction.

    Aleph-Écriture - 15, rue Saint-Jacques, 75005 Paris - 1st floor
    Mini-lectures session 3c : To teach or to write ?


    Enrica AJO (Italy), “The economical impossibility of creative writing for someone living”
    I’ m very curious about different (?) case histories in other countries, but due to the worldwide crisis, and due to the Europe-wide crisis, and due to the Italy-wide crisis and due to my own memyselfandI-wide crisis and due to the personal wide crisis concerning me and my mother fighting over my starvation for eternity and my duty in sending CVs to pizzerias, well, in the end I learnt you can’ t get what you want (or at least five euros per hour) doing your honorable teaching work, and I can’ t agree more with Mick Jagger in referring to this sad story.
    Danièle PÉTRÈS (France), “Between writing and teaching shortstories”
    How to make people understand that often, in a short story, the essential meaning must remain unsaid ? This is all about a workshop I’ve conducted about the subtext, based on Raymond Carver’s short stories. By choosing such an angle, I had to go back to the source of Carver’s work. He followed courses of creative writing. So, I read American manuals. They were all very pragmatic, extraordinarily encouraging, full of insights and written by interesting authors. The exercises I chose could help a lot to construct a story in a couple of days, sufficiently dense to allow a subtext to emerge in the stories of the participants. My contribution will consist in explaining how I worked with the American methods to create exercises on the subject and how discovering this literature led me to question my own practice.
    Catherine LE GALLAIS (France), “About the relationship between writing and teaching creative writing”
    Resting on interviews of creative writing teachers, I will gather some points of view on the living relationship between writing (i.e. working at one’s own literary opus) and teaching creative writing. Who is (or feels) allowed to teach ? Why teach at all ? To what extend can writing and teaching go together ? I will try to point out aspects of the relationship between writing and teaching creative writing that can be felt as problematical.
    2.30-4 pm Panel discussions and workshop
    Institut finlandais-60, rue des Écoles, 75005 Paris
    Panel discussion 2

    Denis BOURGEOIS (France) + guests : Thomas BOUVATIER (France), Ana MENENDEZ (USA/Nederlands)
    “About the writer’s training”
    How to justify that the writer needs training ? This panel discussion would rather avoid this endless question to consider the links between the writer’s training and the professional openings. How to shape courses that lead to deal with professional partners : publishers, producers. How to offer a real training which will help the authors to build their own writing’s worlds and, in the same time, to be able to honor contracts or to respond to commands. The questions of the best contents for programmes in creative writing could also be raised.

    Aleph-Écriture - 7, rue Saint-Jacques, 75005 Paris - Ground floor
    Panel discussion 3


    Alain ANDRÉ (France) + guests : Reijo VIRTANEN (Finland), Mariana TORRES (Spain)
    “About the teacher’s training”
    A lot of creative writing teachers are writers or literature teachers first. But the art of teaching art is a specific one, isn’t it ? How can we help teachers to manage with its specific and recurrent problems ? Do they need an initial or a continuous training ? Should they meet in regular meetings where to share and think about their way of teaching ? Or shall they find their own way alone, as many writers feel sure they’ve done ?

    Aleph-Écriture - 15, rue Saint-Jacques, 75005 Paris - 1st floor
    Workshop 3


    Cécile FAINSILBER (France), “Perception”
    This workshop is based on participant’s perception and transcription of the real, the here, and the now. Echoes and singularities emerge from John Cage’s 4’33 of Silence score. A second experience, time permitting, is based on Kafka’s diary impressions whereby the writer is at the center of a noisy storm in his home. Participants are invited to create their own landscape out of sounds and silence.

    4.15-5.45 pm Evaluation and closing of the 1st EACWP International Pedagogical Conference
    Javier SAGARNA (Spain/EACWP president), Alain ANDRÉ (France/Aleph-Écriture president), and the people in charge of the sessions