Cabaret

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Table of Contents DRAMATURG’S NOTE THE CABARET History of the Cabaret Berlin Cabaret “The Lavender Lay” Cabaret Artists and Clubs “The Machines” The Emcee: The Conférencier Anita Berber THE POLITICS Timeline of Early 1900s Germany Germany Post WWI The Weimar Republic The Rise of the Third Reich THE CULTURE Art in Weima:r: Bauhaus, Otto Dix Food and Drink Music Dance THE SEX Sex and Prostitution The Modern German Woman THE THEATRE Bertolt Brecht Satire THE STORIES Production History of Cabaret The Original Stories PHOTOESSAY Quotation on title page said by emcee of Felix Langer’s “A Naked Dance Club” 2
Welcome to Berlin It is Germany, 1929. Raucous laughter from the cabaret seeps outside as you pass in the shadows of the cold Berlin night. The streets are sexually charged, your head clouds with a heady concoction of prostitution, homosexuality, eroticism and drugs. Still spinning from the collective lust roaring unashamedly from each open cabaret door, you head now for the café bar at the hotel where you live. Jostling with leggy glamour girls as you take your drink, you settle your trouser-suited body into the deep folds of an armchair and smile provocatively as you light a cigarette. Such was the nightly life in the Weimar Republic, an era that seemed to fly under the radar of organized society. Sandwiched between two World Wars, the Weimar Republic gave to the people of Germany what they hadn’t had for years (and wouldn’t have again for decades): the power to revel in what it means to be human. Citizens of Berlin in the late 20’s experienced a time of utter freedom: of speech, to love, of expression. A time of complete governmental upheaval bred a brief moment of creative clarity. The legacies of the artists and intelligentsia of Weimar Berlin can be seen in every art form: in jazz and burlesque halls, popular dance beats, on the walls of museums, on the clothing racks of H&M. It is easy to compare 1929 Berlin to today and quickly dismiss any and all similarities. Playwright, producer and drama translator, Roger Pulvers states, “one country’s naturalism is another country’s surrealism”. But upon closer inspection, the cabarets and dance halls of Berlin are not so far from the basements, storefront theatres, and loft spaces frequented by young Chicago adults every weekend. The vigor for life post-WWI pulses through our veins again today with the reworking of our current government. As artists, just like in Weimar, it is our duty to relish in the ever-present power of art and its ability to comment on and affect society. Whether it be a realistic portrayal, a biting satire or a simple story, the desire to express ourselves is an urge that spans location and time. As artists, I created a sourcebook to immerse you into the world of the cabaret, Berlin and it’s underbelly. I have included a brief history of the cabaret, examples of cabaret artists and clubs as well as various songs popular in 1929-1930 Berlin. Since art and current events go so closely hand in hand in Weimar, I have included a history of the period between WWI Germany and the rise of the Third Reich. So that you can get a taste of Weimar culture, there are separate sections on food, music and dance . A description of Berlin, a city known for its scandalous ways, would not be complete without a look into the sex industry. Rising rates of prostitution caused a skewed perspective of women, and different ideas about what the modern woman should be; included is a section describing some of the expectations women faced in metropolitan Berlin. The theatre of Weimar Berlin survived on a mix of satire and Brechtian-style theatre, and there are sections on both. Cabaret is one of the first musicals to find success without a “happy ending”. It’s production history, a series of successful revampings, is included along with descriptions of the stories Cabaret was created from. Lastly is a photo-essay, branching the world of the Berlin with other artist Mecca's of the last century, showing that life really is a cabaret. If you have any questions or concerns, Faith and I are here to offer you any and all assistance. Brittany Squier (Dramaturg) Faith Glendenning (Assistant Dramaturg 3
Page 1: CABARET “We want pure art, beauty
Page 5 and 6: After Germany’s loss in WWI, the
Page 7 and 8: Poster for “The Lavender Lay” T
Page 9 and 10: Popular Cabarets Apart from the vas
Page 11 and 12: The Emcee: The Conferencier Paul Mo
Page 13 and 14: Germany: The First Thirty Years 191
Page 15 and 16: The Weimar Republic The Weimar Repu
Page 17 and 18: How to make a Prairie Oyster! 1 who
Page 19 and 20: Sex and Prostitution Many factors a
Page 21 and 22: Bertolt Brecht Bertolt Brecht, one
Page 23 and 24: Cabaret: Production History 1966 -
Page 25 and 26: “Art…more effectively than alco
Page 27 and 28: Art…has existed in every known ci
Page 29: Bibliography/Webliography 29

Cabaret

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