3 Questions for Theresa Seraphin

How to halt the current political shift to the right. On 13 February 2025, a man drove a car into a Verdi demonstration at Stiglmaierplatz in Munich. I live right next door and received messages all day asking if I was okay. After such horrific acts, talk of deportation and tighter border controls almost becomes reflexive. The right wing, led by the AfD, is delighted because such acts bolster their inhumane agenda. I wonder how we can succeed in keeping places of exchange open beyond political short-circuits.

Actually, it's a LibreOffice document. I recently collaborated with a musician and was impressed by the digital programmes she uses for composition. In a sense, writing is also a form of composition, arranging words in time. There are specialised writing programmes available, but they are much more rudimentary. Many authors, myself included, continue to work with text documents. Mine are extremely chaotic and impossible for anyone but me to decipher.

It's not exactly an insider tip, but I'm addicted to Doechii's song DENIAL IS A RIVER. A colleague recommended it to me after I read a text about self-destructive behaviour, and I've been hooked ever since. The verse “I mean, fuck, I like pills, I like drugs, I like getting money, I like strippers, I like fucking…” has such a nice flow.

Theresa Seraphin is a theatre maker, author, and curator. She studied dramaturgy, comparative literature, and art history at the Theaterakademie August Everding in Munich and Kyonngi University in Seoul. She founded the Netzwerk Münchner Theatertexter*innen together with Raphaela Bardutzky in 2016. At the 2024 Heidelberger Stückemarkt, she received the Jugendstückpreis (Youth Playwriting Award) for her production ERIK*A (2023). Although she primarily writes for the theatre, Theresa Seraphin is also an active poet, and has been published in the literature magazine Jenny, in MISCHEN, and in the 2024 Jahrbuch der Lyrik, among other publications.