{"id":17428,"date":"2026-10-27T15:11:39","date_gmt":"2026-10-27T13:11:39","guid":{"rendered":"https:\/\/unatc.ro\/devunatc\/?p=17428"},"modified":"2026-10-27T15:14:19","modified_gmt":"2026-10-27T13:14:19","slug":"call-for-papers-conferinta-pedagogica-europeana-de-scriere-creativa-conferinta-regionala-a-scenaristicii-academice-pentru-europa-de-sud-est-bucuresti-6-8-mai-2027","status":"publish","type":"post","link":"https:\/\/unatc.ro\/devunatc\/call-for-papers-conferinta-pedagogica-europeana-de-scriere-creativa-conferinta-regionala-a-scenaristicii-academice-pentru-europa-de-sud-est-bucuresti-6-8-mai-2027\/","title":{"rendered":"Call for papers \u2013 Conferin\u021ba Pedagogic\u0103 European\u0103 de Scriere Creativ\u0103 & Conferin\u021ba Regional\u0103 a Scenaristicii Academice pentru Europa de Sud-Est, Bucure\u0219ti, 6\u20138 mai 2027","gt_translate_keys":[{"key":"rendered","format":"text"}]},"content":{"rendered":"\n

Call for Papers<\/strong>
EACWP VIII International Pedagogical Conference and the SRN South-East European Regional Conference<\/p>\n\n\n\n

Bucharest, 6\u20138 May 2027<\/strong><\/p>\n\n\n\n

Jointly convened by the European Association of Creative Writing Programmes (EACWP) and the Screenwriting Research Network (SRN). Organised by UNATC, CARA and CINEPUB, hosted by the \u201cI.L. Caragiale\u201d National University of Theatre and Film, 75\u201377 Matei Voievod Street, Bucharest, Romania.<\/p>\n\n\n\n

\u00ab Toutes choses sont dites d\u00e9j\u00e0 ; mais comme personne n\u2019\u00e9coute, il faut toujours recommencer. \u00bb<\/em> \u2014 Andr\u00e9 Gide, Le Trait\u00e9 du Narcisse<\/em>, 1891<\/p>\n\n\n\n

The theme<\/strong><\/h2>\n\n\n\n

Every story we write, film or tell has origins: translated, transposed, remembered or unconsciously revived. A century of screenwriting has been, basically, a century of adaptation \u2014 of novels, plays, news, legends, rumours, other films, or the writer\u2019s own unfinished drafts. And now the newest \u201cwriter\u201d in the room has read everything and adapts everything \u2014 more precisely, adopts it, without permission, at industrial scale.<\/p>\n\n\n\n

Adapting means to convert: life to fiction, page to screen, screen to stage; but it also means to survive: species adapt, industries adapt, we all, teachers included, adapt. Writers are adapting texts while adapting to a machine that adopts them. Programmes are adapting curricula while adapting to funding regimes and platform economics.<\/p>\n\n\n\n

Hence the three A\u2019s of our conference:<\/p>\n\n\n\n

ADAPTATION<\/strong> \u2014 the craft, the theory, the pedagogy, the industry: what happens in the passage between forms, and (!) who authorises it.<\/p>\n\n\n\n

AI<\/strong> \u2014 the most consequential adaptation machine ever built, and the most literal test of what we meant by fidelity, authorship, originality and voice. Humans adapt; the machine adopts. What is next?<\/p>\n\n\n\n

APOCALYPSE<\/strong> \u2014 the ending our stories cannot stop rehearsing, repeating or predicting: climate, war, platform collapse, the end of the author. But also, in its Greek sense, apokalypsis<\/em>: an uncovering. A miracle. Is writing still capable of one?<\/p>\n\n\n\n

Possible topics<\/strong><\/h2>\n\n\n\n
    \n
  • Adaptation as craft and theory<\/strong> \u2014 page to screen and back; fidelity and its afterlife; adaptation as translation, appropriation, critique; adapting the unadaptable (interiority, voice, poetry, silence); adapting testimony, archive and the real story.<\/li>\n\n\n\n
  • Screenwriting as an adaptive medium<\/strong> \u2014 the screenplay as provisional, endlessly rewritten object; development, notes culture, adaptation by committee(s); feature to series, film to games, podcast to screen; writers\u2019 rooms as \u201cadaptation machines\u201d. Sequels, prequels and reboots as the prehistory of AI adaptation: the business model of an industry in which, as William Goldman put it, \u201cnobody knows anything\u201d \u2014 which is precisely why it prefers to adapt what has already worked.<\/li>\n\n\n\n
  • Pedagogies of adaptation<\/strong> \u2014 teaching adaptation as a creative writing method; exercises that work; assessing a transposition; screenwriting inside creative writing programmes and vice versa; practice-as-research; teaching across languages.<\/li>\n\n\n\n
  • Adaptation vs.\u00a0adoption (AI)<\/strong> \u2014 generative systems as adaptation engines; whose corpus, whose voice; the elephant in the classroom: the infinitely patient collaborator; assessment integrity and the honesty of our own policies; labour, consent and training data; AI refusal as a creative position.<\/li>\n\n\n\n
  • Apocalypse and the sense of an ending<\/strong> \u2014 climate, war and displacement in European writing; post- and pre-apocalyptic form; the periphery, the ruin of the Empire, the border; the collapse of attention, of the low\/mid-budget film, of the reading public \u2014 and what role writing can still play here.<\/li>\n\n\n\n
  • Institutions, industries, regions<\/strong> \u2014 small languages and large platforms; streaming and the commissioning of adaptation; building creative writing where it barely exists; heritage cinema and the recirculation of a national canon.<\/li>\n<\/ul>\n\n\n\n

    How to submit<\/strong><\/h2>\n\n\n\n

    We welcome proposals from academics, teachers, writers, practitioners and doctoral researchers, members of EACWP or SRN or not, in English, French, Spanish, German or Romanian.<\/p>\n\n\n\n

    Send a single Word or PDF file with: title; abstract of 250\u2013300 words; three to five keywords; author bio of up to 100 words; and the format you propose \u2014 individual paper (20 minutes plus discussion), panel (three participants on a common theme, 60 minutes; one abstract plus a bio per participant) or workshop (90 minutes). Creative writing or reading workshops with creative approaches to adaptation are particularly welcome.<\/p>\n\n\n\n

    Proposals should be emailed to lucian.georgescu@unatc.ro<\/strong> by 1 December 2026<\/strong>, subject line \u201cAdaptation Bucharest 2027 \u2013 Surname\u201d. One individual proposal and\/or one panel or workshop per participant.<\/p>\n\n\n\n

    Key dates<\/strong><\/h2>\n\n\n\n
    Deadline for proposals<\/td>1 December 2026<\/td><\/tr>
    Notification of acceptance<\/td>January 2027<\/td><\/tr>
    Programme published<\/td>April 2027<\/td><\/tr>
    Conference<\/td>6\u20138 May 2027<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

    The conveners<\/strong><\/h2>\n\n\n\n

    EACWP<\/strong>, the European Association of Creative Writing Programmes, brings together more than thirty of Europe\u2019s leading schools and courses in the art of writing, united by the conviction that imagination can be taught, and taught best across borders and languages.<\/p>\n\n\n\n

    SRN<\/strong>, the Screenwriting Research Network, is the world\u2019s leading international community of screenwriting scholars and practice-based researchers, meeting every year on four continents. Bucharest will host the first Balkan \/ South-East European conference in the network\u2019s history.<\/p>\n\n\n\n

    The hosts<\/strong><\/h2>\n\n\n\n

    UNATC<\/strong>, the \u201cI.L. Caragiale\u201d National University of Theatre and Film, is Romania\u2019s leading school of theatre and cinema, founded in 1950 and the alma mater<\/em> of many of the directors, writers and actors who built the New Romanian Cinema.<\/p>\n\n\n\n

    CARA<\/strong>, the Carab\u0103\u021b Academic Research Centre, is UNATC\u2019s centre for research in screenwriting, named after the screenwriter and professor Dumitru Carab\u0103\u021b, author of one of the hidden gems of Eastern European screenwriting wisdom, Towards a Poetics of the Screenplay<\/em>. The Centre brings together doctoral and practice-based research on the screenplay, the screen idea and the teaching of writing for the screen.<\/p>\n\n\n\n

    CINEPUB<\/strong>, the Cinepub Cultural Association, runs Romania\u2019s free-access streaming platform for heritage and independent film, making the national canon available to the public and to researchers. It is also a hub of creative practice for writers and filmmakers alike.<\/p>\n\n\n\n

    More info:<\/strong> lucian.georgescu@unatc.ro lorenabriedis@eacwp.org<\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"excerpt":{"rendered":"

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