This past year, the challenges posed by the pandemic came coupled with several opportunities for fresh thinking. This has, in our methods, processes and output, taken the form of a new understanding of cultural production as open, modular and fluid. The Hybrid Culture worldview and creative approach have seen us through the worst of times for the live event industry. It has made us realize that the “normal” is dead — and that’s not necessarily a bad thing. How can our creativity adjust to a lasting, if not permanent, cultural shift?
In our last interview with Creative Director Michael Masberg on interdisciplinary storytelling, we briefly touched on the fact that European Capitals of Culture (ECOC) change rather slowly. Now, Michael takes us further in having a closer look at the causes and posing two central questions: How can cultural institutions be beacons of digital transformation? And what potential do interdisciplinary collaborations have to address an audience that already lives digitally? In doing so, he will not only look at ECOCs, but expand our view to other cultural institutions such as theatres and museums. The focus here, however, is primarily on Germany.
This week, we interviewed Michael Masberg, our Associate Creative Director and storytelling mastermind. We spoke with him about how his background in theatre, role-playing games and novel writing shapes his approach to story and dramaturgy for bR projects in general, and the Esch2022 launch specifically.
As previously raised by Brendan Shelper, CEO of battleROYAL, and Nancy Braun, Director of the European Capital of Culture Esch2022, the central question of the initial concept for the Esch2022 Launch was: How can we build the crescendo for a societal momentum that takes a region’s population over the threshold into a new era? Or, in the words of Moloko: How can we “make this moment last”? Our answer: Rituals.