Das Campus-Programm richtet sich an die Teilnehmer*innen des Treffens junger Autor*innen. Es umfasst Workshops zu unterschiedlichen literarischen Genres und Themen sowie Einzel- und Werkstattgespräche.
Workshop 1:
Writing for the ears – How a radio play is created
In this workshop, we will explore the basics of dramatic writing and the special features of radio plays. Anyone who writes texts that will later be set to music must rely on what creates sound: voice, rhythm, language, noise and silence. We will experiment with how to use words to create images in the mind without showing them. What does tension sound like? How can sound alone create closeness or distance? The focus will be on a soundscape recorded by the participants themselves – for example, street noise, leaves rustling in the wind or chairs being moved in a café. This recording will be the starting point for writing: what mood does it convey? What story could be taking place? What thoughts or memories come to mind when you listen closely? Based on this soundscape, participants will create a scene or short text, which will be presented at the end.
With
Kristin Höller
Workshop 2:
(Un)creative AI? Writing with ChatGPT and Co.
In this workshop, we will explore the possibilities and limitations of generative AI in a practical way. Can language models (such as ChatGPT and similar programmes) support literary work? Irritate? Or inspire? In addition to an introduction to writing practices with AI, the workshop will provide basic knowledge about how generative language models work and their training logic. The aim is to develop critical AI skills: when are AI systems a helpful tool, and when should their use be deliberately avoided? And what distinguishes one's own language in the age of artificial creativity?
Please bring:
With
Jenifer Becker
Workshop 3:
Rather Make Me Cry Than Make Me Shudder
Workshop on horror in literature and art
Horror is real. Horror is physical. We all know it, we feel it in our stomachs and guts, on our skin and in our throats. Is horror ‘naturally beyond language’, as Dorothee Elmiger writes in Die Holländerinnen? Does it only arise where language fails? Or can we tame it with words? In this workshop, we want to take a fundamental look at the theme of horror in literature and art, what it means to think about fear, to transform fear into art. Because good horror can do more than just make us shudder: ‘A good horror film would rather make me cry than make me shudder’ (Kier-La Janisse, House of Psychotic Women).
With
I.V. Nuss
Workshop 4:
Poetic spaces for reflection
How should references be handled in one's own text? What does it mean to quote, to refer to others – to embed foreign material from works of art, song lyrics, theories, other poems into one's own mode of expression? Rarely does a text manage entirely without references. Is it possible to write free of tradition? Questions about references in one's own text also touch on political intention: quotations convey social discourse or cultural baggage, contextualising themselves according to the field of reference chosen. But quotations can also be subtle, ranging from mild imitation to mimicry or parody. You can play with quotations. In this workshop, we will try out and explore different ways of quoting in our own texts and use them to create magical spaces for thought.
With
Robert Stripling
As a meeting format, this part of the campus programme is aimed at participants in the Young Music Scene Meeting and Young Authors' Meeting and is also largely closed to the public.
Workshop 1:
Hearing words – telling stories with sound
In this joint workshop for participants of the Young Authors' Meeting and the Young Music Scene Meeting, short live radio plays will be created from language and sound. The authors bring along text excerpts (approx. 1 page) – whether prose, poetry or dialogue – and, in collaboration with the musicians, a suitable soundscape is designed. You will experiment with noises, voices, instruments and sound effects to make the moods of your texts audible. Various materials and tools for sound production will be provided so that you can give free rein to your creativity. Your texts and sounds will be used to create a shared acoustic world, which you will perform live to each other at the end of the workshop.
With
Kristin Höller
Workshop 2:
Between sound and words — is language music?
What defines my own voice? What forms of expression can I find for it — in speaking, singing, making music and writing? And to what extent am I inspired by other voices? Is music language — is language music? In this workshop, we explore acoustic and electronic human and more-than-human voices as starting points for our own new texts, pieces and songs. We will loop and examine the ancient, timeless relationship between the magic of words and sound: how breath, rhythm, repetition and resonance shape meaning — and how musical principles can be translated into language and text. We will draw inspiration from birdsong and whale song, (vocal) performance art, graphic scores and concrete poetry.
With
Rike Scheffler
Workshop 3:
Wow Wow Wonder – Workshop
The workshop invites participants to explore the expressive potential of language beyond its literal meaning. Words and sentences become sound, rhythm and musical material. This creates access to the inner musicality of texts, which can be experienced anew on a tonal level.
Through playful experimentation, participants explore how tonal and formal changes in language open up new meanings and interpretations. Through modulations and sonic experiments, it becomes clear how spoken or sung language becomes new material – and how a connection between text and voice is created. Based on participants' own texts – such as poems, song lyrics, short stories – the workshop introduces the defragmentation of language and the exploration of its sonic potential. We will work with various forms of phonetic and semantic transformation: from onomatopoeia to vocal distortions, extreme articulation, syllable stretching and playful linguistic elements inspired by gibberish. The focus is on the encounter between language and sound – and the invitation to rediscover the word as a space for connection between cultures, languages and sonic identities. Please bring a short text you have written yourself. One sentence is often enough, so choose it carefully.
With
Munsha
Workshop 4:
What a difference a place makes...
Language has rhythm, music is a language – and places have their own sound. In this workshop, we will explore together how sound, rhythm and language resonate with spaces. We will start with traditions such as hunger stones and New York graffiti – traces in which places themselves become narrators. After a poetic impulse about the relationship between music and literature, we will set out to find the voices of our surroundings through writing, listening and experimenting. What does a space reveal to us? How does it change our expression? In pairs, we explore the house, discover sound spaces and create poetic-musical miniatures – odes, serenades, text installations. Words, sounds and places interweave to form living literature: audible, tangible, connected to place.
With
Anne Seubert
Workshop 5:
Rap Labor
In this workshop, you will immerse yourself in the world of rap and spoken word. You will learn how rap lyrics are written, what makes a compelling track, and the stylistic facets that hip hop has to offer. From creative lyric writing and various rhyming techniques to producing your own beats, you will acquire the tools you need to develop your own rap song. How do you build rhyme chains and what types of emphasis are there? What are patterns and flow switches? What role do rhythm and melody play? What are catch phrases? And how does freestyle rap actually work? These questions will be answered here. Once you have developed your lyrics, you will have the opportunity to record them with the beat and take the result home with you as an MP3 file.
With
Marco Sternsdorf