瑞典作家Helena von Zweigbergk目前正在将自己的两本书改编为电视剧，她表示小说和剧本的创作非常不同，因为剧本会有更多的动作描写，同时更多时候故事的内容是通过演员的表演、音乐和图像来呈现的。她十分同意写作需要创意、需要作家放飞想象。她提到在写作过程中，作者常常会有一个自我审核机制，即希望读者会喜欢自己的作品。但是一个好的作者需要忠实于自己的感受，她认为作者所写的东西越接近真实的自我，越能打动读者。
Igniting the Creative Spark
At 5pm on November 24, the last event entitled “Igniting the Creative Spark” of the third edition of EU-China International Literary Festival was held in Shenzhen Yanjiyou Bookstore. In this event, writers from Sweden, the Netherlands and China shared their views on the importance of creative thinking in writing and their experience on adapting the literature works for the movie and TV dramas. Literary critic Tang Xiaolin hosted the event.
The Chinese writer Yang Zhengguang first shared his views on creative writing. He pointed out that although the idea seems novel, literary creation is creative writing and all genres of literary requires creative thinking. People from different places may have different experiences and as long as they have their perception on things, they are being creative. Also, he mentioned that when reading the works of foreign writers, he focuses on their way of looking at things instead of their way of writing. Yang is experienced in adapting literary works for movies and TV dramas. He said that adaptation also is examined by the same evaluation as translation that whether the work is faithful to the original piece. From his point of view, the adaptor should be true to his own perception of things. However, before changing the original work, the adaptor should be have the permission of the author.
The Swedish writer Helena von Zweigbergk is now working on the script for two of her books to become TV series. She said that it is completely different to write for a TV drama compared to writing a novel. For screenplays and teleplays, there are more gestures, and the subtle thing is more in the acting, music and images. She agreed that one has to have a creative and open mind when one writes. Very often the writers have the inner censorship that they want people to like their books, but a good writer should to be true to himself and the more personal a writer is, there is a greater chance that he can reach other people in his work.
The poet and translator Huang Canran read two of his poems for the writers and audience and shared his views on being creative. One of the poems is named “Prophet” and it depicts a drake that crackles loudly on and off. The poet compares it to the prophet Jeremiah in the Bible who is warning its fellows of the impending doom. By this example, Huang Canran expressed his view that we can draw our inspiration from our life as well as our reading. If he had not read the Bible, he could not have ignited the spark and put prophet in his poem. Tang Xiaolin mentioned that nowadays it has been popular to get rid of rhymes when translating poems into Chinese. Huang Canran commented that the trend of poetry translation is on par with the that of poetry writing. Both the translators and poets pay more attention to the content of the poems instead of rhyming for the sake of it.
Dutch scholar and writer Minke Schipper considered the issue from the perspective of human’s relations with our ancestors. She gave an interesting simile: in the ancient time, human beings sat together and listened to the oral stories which is no more different from today when we sit in the cinema and watch the movies. The tradition of listening to stories is passed on from generation to generation. Today, it is much more easier for us to exchange cultures and the writers can draw inspirations from different cultures. Therefore, she suggested that we should always be curious about other cultures and promote the understandings of one another to help ignite the creative spark.
In the Q&A session, Minke Schipper shared her research on the theme “Naked or Covered”. She said that the reason why we expose some parts of our bodies while cover the others is decided by religious and cultural elements. Such rules usually have more requirements for women than men. Another listener asked when Chinese poetry can have a world impact. Huang Canran answered that it takes at least thirty to fifty years for poetry to have an impact and very often the works of poets can not be appreciated until their death.