UA-51082228-1 PICCOLA GUIDA AI CORSI DI SCRITTURA CREATIVA IN ITALIA di Davide L. Malesi | Rivista Origine UA-51082228-1

PICCOLA GUIDA AI CORSI DI SCRITTURA CREATIVA IN ITALIA di Davide L. Malesi

Molti lettori ci hanno scritto chiedendoci se la redazione di “Origine” organizzi corsi di Scrittura Creativa. Vedendosi rispondere che non ci pensiamo nemmeno, ci hanno chiesto: quali sono i corsi “migliori”? Che cosa insegnano? Servono a qualcosa? E se sì, a cosa? Visto che queste domande ci lasciavano completamente spiazzati, abbiamo provato a districarci tra la Babele di offerte disponibili per capire qualcosa di più. Ed ora che qualcosa abbiamo capito (forse), ecco una piccola guida, dichiaratamente fallace e comprensibilmente non esaustiva, che tenta di fornire una risposta alle domande di cui si diceva: una risposta il più sensata possibile, anche se non necessariamente tra le più serie.

PREMESSA

Prima di tutto, fatevi un esame di coscienza. Siete davvero convinti di voler scrivere? Scrivere una cosa come la narrativa? Siete sicuri di non preferire alternative meno inquietanti, come sceneggiature, discorsi politici, saggi, raccolte di barzellette? Sappiate che Erri De Luca, intervistato da Roberto Balzano, ha detto (1): “[Il primo consiglio che offro a un giovane scrittore è quello di] smettere subito. […] Se proprio non ce la fa, allora tanto vale accanirsi, ma solo dopo aver preso in seria considerazione l’ipotesi di lasciar perdere.” E che uno scrittore come Javier Marìas dice di sé (2): “mi domando come, nella mia età adulta, possa dedicare tante ore e tanta fatica a qualcosa di cui il mondo, me compreso, potrebbe fare tranquillamente a meno.” Vi abbiamo dissuaso? Siamo certi di no. Andiamo avanti.

COSA INTENDIAMO QUI PER ‘SCRITTURA CREATIVA’

Siamo d’accordo che è un concetto un tantino vago. Però un accordo bisogna trovarlo. Qui parliamo di Scrittura Creativa intesa come narrazione, come invenzione di storie.

LE TECNICHE DI BASE

Noi abbiamo un’opinione su quello che un corso di Scrittura Creativa dovrebbe insegnare. Giulio Mozzi ha scritto in merito una cosetta molto interessante (3): “si può insegnare tutta la parte tecnica dello scrivere e del narrare. A me la parte tecnica dello scrivere e del narrare è stata insegnata. Ho lavorato sette anni nell’ufficio stampa della Confartigianato del Veneto – avevo risposto a un annuncio nel quotidiano, mi avevano preso perché battevo a macchina velocissimo -, e lì alcuni giornalisti bravi e generosi mi hanno insegnato molte cose. Tra un racconto d’amore o di suspance e un comunicato stampa sulle norme igieniche nella produzione del gelato c’è una bella differenza; ma la tecnica che ci sta sotto, vi piaccia o no, è sempre quella.” In questa nostra piccola inchiesta, partiamo dal presupposto che un corso di Scrittura Creativa dovrebbe insegnare proprio questa tecnica.

E COS’E’ CHE PROPRIO BISOGNEREBBE EVITARE?

Può sembrare una banalità, ma va detto: chiunque aspiri a scrivere narrativa, per qualsiasi motivo desideri farlo, dovrebbe anzitutto trovare la propria voce. Uno stile, un’identità, un nucleo di caratteristiche che formano il carattere di un narratore, professionista o dilettante che sia. Evelyn Waugh era uno “capace di sfottere anche l’acqua minerale”. Milan Kundera non è precisamente lo stesso tipo di scrittore, anzi. E non si può dire che Waugh sia meglio di Kundera, o viceversa: è una questione di gusti, perché si tratta di due autori che hanno voci assai diverse. Bisogna stare attenti, nel frequentare un corso di Scrittura Creativa, a non smarrire la propria identità: dopotutto gli insegnanti in genere sono scrittori essi stessi, ognuno col suo stile e le sue idee, ed è molto difficile che questi aspetti non ne influenzino minimamente l’insegnamento. Uno scrittore non può non avere gusti e preferenze. C’è quello che va pazzo per i minimalisti americani e quello che li brucerebbe nella piazza centrale. C’è quello che per lui il romanzo è morto, e ormai si possono scrivere racconti e basta – e quello che dice basta con questi raccontini, il futuro della letteratura è nel romanzo-fiume da 800 pagine almeno. La morale della favola è che in un corso di Scrittura Creativa un insegnante dovrebbe esser capace di trasmettere valori anche opposti a quelli in cui crede, per stimolare adeguatamente il diverso carattere degli allievi. Oppure, dovrebbero esserci insegnanti capaci di offrire diverse prospettive. Racconta Sandro Veronesi: “Io alla Scuola Holden di Torino – dove ho insegnato e dove ancora ogni tanto insegno – avevo questa classe di ragazzi che stavano lì due anni (è un master) e li conoscevo, e costruivo via via un rapporto, e mi allargavo anche un po’ nella gestione delle ore. Un giorno mi misi lì a distruggere sistematicamente Smoke perché non mi era piaciuto, non mi era piaciuto strutturalmente. E naturalmente i ragazzi, non per piaggeria, ma per il semplice fatto che seguivo delle correnti, dei corsi, che avevo già preventivamente percorso con altri argomenti, mi seguivano nella distruzione di questo film che in quel momento era uscito e sembrava molto trendy. E poi Paul Auster – parlo di tanti anni fa – era l’autore di culto per tutti quanti. E io, soddisfatto di questa mia azione di demolizione di un film, un potenziale brutto modello che rischiava invece di sedurre molti di questi studenti che erano già sedotti da Paul Auster, finisco. Dopo di me c’è una lezione di Bergonzoni e io rimango perché mi piace Begonzoni anche se non ci si ricorda mai di quello che ha detto. Andai a bere il caffè, rientrai a lezione iniziata e lui stava facendo un peana di Smoke. Stava ricostruendo tutto quello che io avevo distrutto, da tutta un’altra parte e questi ragazzi erano a loro volta molto attratti da questa ricostruzione di Smoke. L’avessimo fatto apposta non ci sarebbe venuta così… Allora io ho detto: questa è una buona scuola. […] È stato un caso, ma una scuola che determina questi casi mette in condizione chi ci si è iscritto a ragionare con la propria testa. […] La diversità delle voci è uno stimolo fondamentale…”

MA COME FUNZIONANO QUESTI CORSI?

Qui comincia il problema vero. Nel senso che c’è un po’ di tutto, e l’unico modo di valutare l’efficacia e la serietà di un corso è frequentarlo. Anzi, in realtà non basta neanche: teoricamente io potrei iscrivermi ad un corso di Scrittura Creativa, fare un’esperienza che conduce ad un complessivo peggioramento della mia scrittura, ed essere convinto del contrario. Può succedere se sono ingenuo, e sprovvisto di capacità critiche. Può succedere anche se i miei insegnanti sono in buona fede. Dice Sandro Veronesi: “chi insegna a scrivere non è detto che debba essere più bravo di quello che impara.” Tuttavia, una distinzione oggettiva tra i vari corsi, aldilà di ogni possibile valutazione qualitativa, sta nella tipologia di corso. Potremmo suddividere i cosiddetti “corsi di Scrittura Creativa” in 4 categorie approssimative:

1) Laboratori o Workshop – E’ il tipo di corso più breve, che di norma offre una soluzione basata su 2-4 giorni di lavoro intenso. Di solito ha un tema più o meno specifico: ad es. “il Racconto Autobiografico”, “la Short Story”, “il Racconto Noir”. Più che un corso vero e proprio, è una serie di incontri in cui il partecipante apprende, o dovrebbe apprendere, i meccanismi di un certo tipo di narrazione, che si tratti di un genere (“il Racconto Noir”) o di una forma letteraria (“la Short Story”). Durante un Laboratorio, solitamente ogni partecipante svolge un esercizio di narrazione basato sul tema del Laboratorio stesso, in cui impiega le tecniche acquisite. Rientrano in questa categoria i Cantieri Holden, il Workshop di Scrittura Creativa di Giampaolo Spinato, o il Seminario “La scrittura, la narrazione e Internet” a cura di Giulio Mozzi, con la collaborazione di Tullio Avoledo e Annamaria Manna.

2) Corsi – Un corso di Scrittura Creativa vero e proprio, in genere, offre a chi lo frequenta una buona infarinatura di tecniche di narrazione, nonché una discreta panoramica sui generi e le forme letterarie. Vengono eseguiti esercizi di narrazione, prevedibilmente basati sulle forme brevi (racconti). Un Corso di questo tipo offre (normalmente) tra le 20 e le 30 ore di lezione, ma esistono ovviamente eccezioni. Rientrano in questa categoria il corso “Racconto e romanzo” della Scuola Holden, i corsi della Piccola scuola di Scrittura Creativa di Giulio Mozzi, i laboratori di scrittura dell’editore Minimum Fax, le Vacanze Studio organizzate dalla rivista “Inchiostro” (tema: “Scrivere per passione, scrivere per professione”.) Alcuni corsi di Scrittura Creativa si focalizzano su un genere letterario (esempio: il corso di Scrittura Creativa Giallo-Noir di Cinzia Tani). In questo caso, l’enfasi è ovviamente sulle tecniche narrative proprie del genere in questione (nel caso del corso di Cinzia Tani, l’insegnante dedica una lezione intera alla “creazione della Suspence”, e così via).

3) Master – E’ il tipo di corso più ambizioso, che può durare mesi (o anni). In Italia, c’è il Master in Tecniche di Narrazione della Scuola Holden di Torino e il Master della Scuola Sagarana di Lucca. C’è anche il Master in Creative Content Writing dell’Istituto Europeo di Design, organizzato in collaborazione con l’Agenzia di comunicazione McCann-Erickson, Unbranded e Ariane (Agema Group) che vuole “sviluppare la creatività come struttura portante della scrittura finalizzata a produrre testi pubblicitari, fiction, sceneggiature TV, contenuti dell’universo web.” Il Master della Scuola Holden dura due anni. Il primo anno “è una sorta di suk, dove si incontra ogni genere di merce: cinema, teatro, musica, letteratura, pubblicità, arti visive, thriller, fumetto, giornalismo”, mentre nel secondo anno “si approfondiscono tre linee di studio: racconto e romanzo, scrittura per il teatro e narrazione cinematografica. Meno lezioni, più laboratorio: progetti da inventare e realizzare. Si incontrano alcuni autori con cui si svolgono seminari di studio su particolari prodotti di narrazione. Inoltre ogni allievo concorda con la Scuola un progetto finale, nella disciplina che preferisce, da sviluppare sotto la guida di alcuni docenti e da consegnare al termine dei corsi.” Complessivamente il Master della Scuola Holden offre circa 880 ore di lezione per ciascun anno di frequenza. Il Master della Scuola Sagarana ha invece durata annuale, per 240 ore complessive d’insegnamento, mentre il Master in Creative Content Writing dell’Istituto Europeo di Design offre 200 ore di lezioni suddivise in 9 moduli.

4) Corsi online – Qui li trattiamo come una categoria a parte. Sono corsi che sfruttano Internet come strumento per facilitare la didattica a distanza: un esempio è il corso di Scrittura Creativa on-line di Roberto Cotroneo. Le modalità di fruizione del corso sono normalmente basate sullo scambio di posta elettronica. Nel caso del corso di Cotroneo: “ogni lezione consiste di un testo inedito di Roberto Cotroneo sull’argomento trattato che non è mai inferiore alle 10 mila battute (cinque cartelle). Ogni lezione termina con la richiesta di un esercizio.” “Le lezioni vengono inviate all’indirizzo mail dello studente. Lo studente a sua volta invierà l’esercizio sempre attraverso posta elettronica.” “L’esercizio viene corretto (con correzioni visibili in colore rosso) nei giorni precedenti alla lezione successiva. In nessun caso si correggerà più di un elaborato per studente.”

La terminologia che abbiamo usato è generica, ne siamo consapevoli. E’ anche arbitraria. Nel senso che, tanto per fare un esempio, i cosiddetti “laboratori di scrittura” dell’editore Minimum Fax per quanto ci riguarda rientrano nella seconda categoria (“Corsi”), anche se l’editore che li organizza li definisce “laboratori”.

E GLI INSEGNANTI, CHI SONO?

In genere, sono scrittori o editor. Più scrittori che editor, in percentuale. Alcuni corsi sono tenuti da un solo insegnante, altri da un gruppo di insegnanti, altri ancora (specialmente il Master della Scuola Holden) vantano un corpo insegnante assai folto in cui spiccano parecchi nomi di scrittori italiani più o meno celebri. In genere, tutti i corsi (esclusi i Master) sono organizzati da uno scrittore piuttosto noto (che funge anche da “polo d’attrazione” per i potenziali allievi) che può usufruire di collaboratori oppure no, e che in genere si appoggia ad una struttura ospitante (associazione culturale o libreria) per i locali. Ad esempio, la Piccola scuola di Scrittura Creativa di Giulio Mozzi conta sul supporto di Monica Benucci, Stefano Brugnolo, Angelo Ferrarini e Fabio Fracas, mentre il corso “Racconto e romanzo” della Scuola Holden conta sui docenti Lucilla Giagnoni (attrice); Davide Longo, Camilla Baresani, Rossana Campo, Giampiero Rigosi (scrittori); Marco Vacchetti (pittore); Giorgio Vasta (editor); Elena Varvello (poetessa). I corsi della Minimum Fax sono tenuti da Christian Raimo e Nicola Lagioia, entrambi scrittori e impegnati in diversi progetti editoriali.

I CORSI DI SCRITTURA CREATIVA SONO CARI?

No, sono abbastanza economici rispetto a molti corsi di lingue, di computer, etc.. Ad esempio, un corso di computer mirato al conseguimento della Patente Europea per l’Informatica costa senz’altro di più: mediamente 1600 € per 80 ore di lezione, cioè 22,5 € l’ora; mentre difficilmente un corso di Scrittura Creativa supera i 16/18 € l’ora, e in molti casi non arriva a 10. Qui di seguito trovate una breve tabella riepilogativa del rapporto prezzo/ore di lezione di alcuni corsi.
I Master sono naturalmente più cari. Ad esempio il Master della Scuola Holden costa 5.200 € l’anno, mentre quello della Sagarana costa 2.300 €. La Scuola Holden mette a disposizione borse di studio che possono coprire fino al 50% dei costi legati al corso.

A COSA NON SERVE UN CORSO DI SCRITTURA CREATIVA

A diventare professionisti della narrativa. Seriamente. Lo scriviamo senza pudore. Un corso di Regia a livello professionale vi insegnerà, perlomeno, a girare un videoclip o un cortometraggio che non facciano ridere i polli, sguaiatamente. Magari non sarete mai un Jules Dassin o un Alfred Hitchcock, ma avrete per forza acquisito un ventaglio di capacità basilari, in uso nell’ambiente dei professionisti del cinema. Nessun corso di Scrittura Creativa vi garantisce le stesse capacità professionali a livello di narrazione. In Italia non esiste quella sana, solida tradizione dello scrittore professionista che c’è negli Stati Uniti o in Francia e che vorrebbe che ci sia un tizio, da qualche parte, che sia capace di sfornare a raffica: racconti su commissione, inchieste giornalistiche, reportages, fiction, romanzi-verità, libri-inchiesta eccetera semplicemente perché è pagato per farlo. Siamo schiavi, per usare nuovamente una definizione di Javier Marìas (4), della “banalità purista che pretende per mettersi alla macchina da scrivere sensazioni grandiose come la necessità o la pulsione creatrici”. Lo scrittore professionista in Italia non ha un’identità precisa, non si capisce bene chi o cosa sia. Per esempio, Sandro Veronesi dice che lo scrittore professionista è quello che, pensando alla letteratura, a quello che scrive, dice: “questa roba è la mia vita, è la mia professione addirittura, se perdo questo perdo tutto”. Ci sembra una definizione piuttosto romantica, inadatta a descrivere un mestiere. Fatto sta che poiché non esiste lo scrittore come figura professionale, non c’è neanche un contesto in cui questa figura possa crescere. Triste, ma vero. Il Master della Scuola Holden è tuttavia quanto di più vicino possa esistere a un percorso di questo tipo. A proposito (alla Scuola Holden ci tengono a dirlo): il loro non è un corso di Scrittura Creativa, ma un Master di Tecniche di Narrazione. Ovvero: “è una scuola di narrazione. Si apprendono i fondamenti di molte tecniche diverse per impossessarsi della sensibilità e delle capacità artigianali che stanno alla base di qualsiasi narrazione. L’idea è quella di formare autori o professionisti che trovino il fondamento del loro lavoro nella ricchezza e pluralità dei riferimenti piuttosto che in una competenza esasperatamente specialistica. Che significa: se vuoi scrivere romanzi studia Sergio Leone, se vuoi fare film ascolta Verdi, se hai in mente un serial televisivo studia Flaubert, se vuoi fare il pubblicitario ascolta il rap, se vuoi scrivere poesie leggi Dylan Dog.” Quanto agli sbocchi professionali, la Scuola Holden offre ai suoi diplomati, tra quelli ritenuti idonei, “la possibilità di svolgere stage lavorativi di 3-6 mesi presso case editrici, giornali, redazioni televisive, società di produzione cinematografica e agenzie di pubblicità.” Naturalmente, come in tutte le cose, la capacità di un masterista di affermarsi non è secondaria: in pratica, se vi diplomate e poi vi mandano a fare uno stage, a quel punto tutto o quasi dipende da voi. Ci sono casi emblematici di successo: Evelina Santangelo, editor e scrittrice, racconta: “… è arrivata la borsa di studio della Scuola Holden. Dopo notti passate a rivoltarmi nel letto, sono tornata in Italia, a Torino, a studiare Tecniche della Narrazione, per l’appunto. […] Alla fine del master, mi è stato proposto uno stage presso la casa editrice Einaudi. Da lì, direi, è cominciato tutto. Il lavoro come redattrice ed editor per la Narrative italiana e inglese presso la casa editrice, la stesura dei racconti, l’insegnamento di Tecniche della Narrazione presso la Scuola Holden.”

A COSA PUO’ INVECE SERVIRE UN CORSO DI SCRITTURA CREATIVA

A tante cose e a nessuna, se si vuole. Potremmo dilungarci un bel po’ su questo argomento, ma abbiamo preferito parlarne con qualcuno che ne capisce davvero, visto che insegna Scrittura Creativa da anni, e con un certo successo: nella fattispecie, lo scrittore Giulio Mozzi. Sull’utilità dell’insegnamento della Scrittura Creativa, ha scritto (5): “[Non si diventa scrittori frequentando un laboratorio di scrittura.] Come non si diventa Vittorio Gassman frequentando un laboratorio di teatro, né si diventa Novella Calligaris frequentando un corso di nuoto. Ma se uno è un Vittorio Gassman potenziale, o una Novella Calligaris potenziale, frequentare un laboratorio di teatro o un corso di nuoto non gli/le farà certo male. Magari, semplicemente, porterà un risparmio di tempo.” Abbiamo voluto approfondire con lui alcuni aspetti legati all’insegnamento della Scrittura Creativa.

Domanda di Davide L. Malesi: Delle scuole di scrittura creativa si parla talora molto male. Giovanni Arduino, in un’intervista, ha detto che “… La maggior parte delle scuole di scrittura, come quella di Baricco, con i costi che ha, è l’equivalente della scuola americana che c’è vicino a casa mia, ossia ragazzi veramente pigri che non sanno che cazzo fare e famiglie facoltose che li mettono lì a passare il tempo. La scuola di Baricco è esattamente la stessa cosa. Ci sono anche altre scuole a Milano dove paghi veramente poco, dove la gente va essenzialmente per beccare. Sembrano dei club per single. Scuole di scrittura serie possono essere utili, per metterti ben chiaro in testa quello che sul mercato va o non va fatto, però di scuole così, in Italia, non ce ne sono.” Non capita di sentire giudizi così aspri, poniamo, sulle scuole di giornalismo. Eppure anche lì s’impara a scrivere, o quantomeno si apprende la tecnica della scrittura, in cambio di denaro. E nessuno si stupisce che i registi, gli sceneggiatori, gli autori di teatro, vadano “a scuola” per imparare a fare il loro mestiere. Perché, invece, per la narrativa qualcuno grida allo scandalo?

Risposta di Giulio Mozzi: Quando Arduino dice: “La maggior parte delle scuole di scrittura, come quella di Baricco”, si mostra molto disinformato. Non mi soffermo sul fatto che la Scuola Holden non è “la scuola di Baricco”. Arduino mostra la sua disinformazione perché la Scuola Holden è, nel panorama italiano, unica. Non c’è in Italia nessun’altra scuola di scrittura (ma la Scuola Holden si autodefinisce, più precisamente, “scuola di tecniche della narrazione”) che sia paragonabile (per la durata, per il monte-ore complessivo, per il parco-insegnanti ecc.) alla Scuola Holden. Quindi, generalizzare a partire dalla propria opinione sulla Scuola Holden, giusta o sbagliata che sia questa opinione, è proprio stupido.E la formulazione della tua domanda (“nessuno si stupisce che i registi, gli sceneggiatori… vadano “a scuola”) cade nella trappola di Arduino. La Scuola Holden (e forse anche la Scuola Sagarana di Lucca, almeno nelle ambizioni) vuole formare dei “narratori professionisti”. Ma molte altre scuole, o iniziative varie, non hanno per nulla lo scopo di formare dei “narratori professionisti”. E queste sono la vera maggioranza. Allora direi: nessuno si scandalizza se tante persone si iscrivono a corsi di nuoto, di salsa e merengue, di inglese, di cartonnage, di chitarra jazz. E nessuno si scandalizza se qualcuno si iscrive a uno di questi corsi semplicemente per trovare compagnia, per incontrare gente, per condividere un interesse o una curiosità, eventualmente per incontrare qualcuno dell’altro sesso. Io, per me, non ci vedo niente di male.
Mi par di capire che per Arduino una “scuola di scrittura seria” debba avere
le seguenti caratteristiche:
– non “essere di Baricco”,
– costare né tanto né poco,
– praticare la segregazione sessuale,
– “mettere ben chiaro in testa quello che sul mercato va o non va fatto”, ossia essere completamente orientate al mercato.
Non so: a me sembrano discorsi scemi.
I guai veri, invece, cominciano quando qualcuno propone iniziative che non danno una formazione “da professionista”, spacciandole per iniziative che danno una formazione “da professionista”. Questa si chiama: truffa.

Tu hai detto, della Piccola scuola di scrittura creativa “… Si fa un po’ di teoria della narrazione, un po’ di esercizi, un po’ di discussione di testi, un po’ di riflessione sugli errori più frequenti. Una cosa molto tranquilla, di spirito anche un po’ dopolavoristico.” Cosa ti piace di questa esperienza, perché l’hai iniziata, e cosa ti motiva ad andare avanti?
Mi piace stare in aula. Si trattasse anche di spiegare come si pulisce l’aspirapolvere, o come si cambia l’acqua al canarino, credo che ugualmente mi piacerebbe stare in aula. La faccenda, comunque, è cominciata non per mia iniziativa. Un giorno mi telefonano dal circolo Arci “Lanterna Magica”, e mi dicono: “Faresti mica, te che hai pubblicato un libro, un corso di scrittura creativa?”. Era il 1993. Io ho detto: “Ma, ci penso”. Ci ho pensato tre mesi, durante i quali mi sono letto quel poco che c’era allora di pubblicato in Italia. E poi via, ho cominciato. Tre anni dopo, quando mi sono ritrovato senza lavoro, ho pensato che potevo far diventare quella cosa “un lavoro”. Ed è stata effettivamente il mio primo lavoro, la mia prima fonte di reddito, per qualche anno. Da tre anni, grazialcielo no. Perché da un po’ comincio a non poterne più, ad avere meno voglia di andare in aula, di incontrare sempre nuove persone, di riprendere daccapo certi discorsi. Mi piace molto la varietà di questo lavoro. Mi è successo di curare e/o condurre laboratori per operatori turistici (come scrivere materiali promozionali convincenti), anziani in casa di riposo (lasciare la storia della propria vita in eredità ai nipotini), dirigenti d’azienda (migliorare la comunicazione aziendale, interna ed esterna), signore in dolce attesa (inventar favole), venditori di prodotti finanziari (la storia di vita del cliente come strumento di marketing personale), insegnanti di italiano (come insegnare a scrivere decentemente ciò che s’ha da scrivere per passare l’esame di stato), sindacalisti (come liberarsi dal sindacalese senza cadere nel berlusconese), psicologi (come insegnare a tenere un diario), webmasters (chi l’ha detto che nel web bisogna scrivere veloce?), consiglieri comunali (teoria e tecnica del comizio), e così via. Con un amico sto meditando di organizzare un corso per avvocati, il mio sogno è riuscire a fare un laboratorio di omiletica in seminario (l’omiletica, ossia “teoria e tecnica dell’omelia”, della predica in chiesa).
Tra l’altro: quando si parla di “insegnare a scrivere”, bisognerebbe ricordarsi che la scrittura è uno strumento di uso comune. Non è uno strumento che serve solo agli “scrittori”.

Secondo te, il talento è un valore oggettivo, riconoscibile?
Oggettivo no, riconoscibile sì.

Molti esordienti in cerca di pubblicazione frequentano le scuole di scrittura creativa per stabilire un contatto con qualcuno che possa indirizzare i loro dattiloscritti verso l’agognato traguardo della pubblicazione. Serve? Ha senso?
Ma, suppongo che abbia senso se il docente è uno che fa del lavoro editoriale. Molti pensano che gli “scrittori” facciano lavoro editoriale: ma questo non è vero. E bisognerebbe riuscire a dirlo chiaramente. Nel sito di Simona Vinci, ad esempio, nella pagina per i “contatti”, è scritto chiaramente: “Vi prego cortesemente di NON inviarmi racconti, romanzi o raccolte di poesie. Sono una scrittrice, non un editor, perdonatemi. Non avrei neppure il tempo di leggerli”. Molte persone ritengono una posizione di questo tipo inammissibile. Invece è una posizione sensata e corretta, tanto più sensata e corretta in quanto è esplicita. Da questo punto di vista frequentare un laboratorio di scrittura ha senso tanto quanto aveva senso, in altri tempi, frequentare certi salotti o certi caffè. Ma, ripeto: ai laboratori di scrittura (intendo quelli genericamente dedicati alla narrazione, non quelli specifici che elencavo prima) partecipano soprattutto persone che vogliono imparare a scrivere e raccontare meglio, così come ai corsi di nuoto si iscrivono persone che vogliono imparare a nuotare meglio. Le persone che partecipano ai laboratori di scrittura perché vogliono “diventare scrittori” o “scrittrici”, sono una piccola, piccola minoranza. E, in linea di massima, se me ne càpita qualcuna in un laboratorio mio, cerco di allontanarla. L’esperienza insegna che chi manifesta il desiderio di “diventare uno scrittore” spesso è un elemento di disturbo nel laboratorio: perché ha scopi diversi da quelli di tutti gli altri, e perché il più delle volte è proprio negato per la scrittura.

Ti trovi per le mani un talentaccio: diciamo uno scrittore che ha un enorme potenziale grezzo ma una scrittura viscerale, primitiva, l’equivalente del Selby dei tempi d’oro. Che fai? Non pensi che insegnargli una “tecnica” possa diminuirne la potenza?
Che faccio? Be’, aspetto. Gli presto libri. Lo sto a sentire. Leggo quello che scrive. Lo invito a cena. Andiamo a spasso insieme. Parliamo del più e del meno. Cerchiamo di fare amicizia.

Parliamo di un caso che ti riguarda da vicino. In una intervista concessa a “Inchiostro”, Tullio Avoledo dice di aver curato in special modo i dialoghi de L’elenco telefonico di Atlantide. Di averli cronometrati, e così via. Alcune sere fa, a cena, Wu Ming 1 mi diceva che invece secondo lui i dialoghi erano proprio l a parte più debole dell’insieme: troppo levigati, mentre in base alla sua opinione il linguaggio va “sporcato”, rivitalizzato attraverso il gergo e la deviazione dalla forma più propriamente letteraria. Non esito a parlartene perché lui stesso mi ha detto di averti scritto in proposito. Il punto è: poiché nelle note del libro Avoledo ti ringrazia del tuo contributo al suo lavoro, senza dubbio lo avrai “istradato” (perdonami la brutta espressione, ma non me ne viene un’altra) in una certa direzione per quanto concerne i dialoghi del suo romanzo. Ecco, i miei dubbi sull’insegnamento della scrittura creativa stanno soprattutto in situazioni come questa. Visto che non c’è un metodo, ma ce ne sono tanti, e su questi metodi si può anche discutere: pensi sia giusto “convincere” uno scrittore, che per te ha stima e ammirazione, a fare una scelta piuttosto che un’altra? Non ti viene il dubbio che ciò possa anche nuocergli?
Tullio Avoledo è adulto e vaccinato. Mi ha posto il problema dei dialoghi: secondo lui erano, a quello stadio del lavoro, ancora un po’ “pesanti”. Io gli ho proposto un modo di lavorarli: mi sono messo lì, davanti a lui, con il dattiloscritto e la matita, e ho riempite di segni quattro o cinque pagine. Tullio ha detto: “Questo è un modo interessante di lavorare”. Dopodiché, tutta la revisione se l’è fatta lui. Se c’è una cosa di cui sono sicuro, è che Tullio ha agito in piena autonomia. Quanto all’opinione di Wu Ming 1 su quei dialoghi, confesso che pur avendone discusso con lui non l’ho ancora capita.

La letteratura non è una scienza esatta. Francis Scott Fitzgerald, che uno di gusti difficili come T. S. Eliot definì “il più grande narratore” del suo tempo, conservava nel suo studio le decine e decine di lettere di rifiuto che ebbe dagli editori in risposta dei suoi primi dattiloscritti. Uno scrittore di narrativa, per essere pubblicato, deve affrontare i giudizi di editor, curatori, eccetera. Non sarebbe utile insegnargli come agire per accrescere le sue opportunità, come rendere il suo prodotto più “convincente”? Dopotutto, le scuole americane di cinematografia insegnano anche come andarsi a cercare i finanziamenti, come stabilire contatti con la produzione…
Il problema è che io non capisco in base a che cosa gli editori italiani facciano le loro scelte. L’editore che conosco meglio “dall’interno”, perché pubblica i miei libri, ossia Einaudi, fa scelte per me incomprensibili. Quindi non saprei dare consigli precisi. E poi, insisto, se i laboratori di scrittura non hanno, e quelli che organizzo o conduco io non ce l’hanno, lo scopo di “formare degli scrittori”, allora di questi argomenti c’è poco da parlare.

***
Note
(1) “Origine” n. 3, Quindici domande a Erri De Luca, a cura di Roberto Balzano
(2) Quello che succede e quello che non succede, epilogo del romanzo Domani nella battaglia pensa a me, di Javier Marìas (“Einaudi”)
(3) e (5) Non un corso di scrittura, di Giulio Mozzi
(4) Dalla prefazione della raccolta di racconti Quand’ero mortale, di Javier Marìas (“Einaudi).

Scritto da:

Origine - genesi sociale degli immaginari mediali - Direttore MICHELE INFANTE

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