Cabaret, however, I had to discover on my own.īerlin: Cosmopolitan Life, Consumerism, and Montage 10 Variety Shows and Nietzschean Vitalism 20 Berlin Wit: Laughter and Censorship 30 2 Between Elitism and Entertainment: Wolzogen's Motley Theater They also introduced me to the study of history. Finally, in the briefest of words: This book is dedicated to my parents, Barbara and Charles Jelavich, who have given me encouragement and support in every possible way. For their friendship and generosity, I would like to thank in particular Cella and Georg Girardet Christiane Lemke, Bjorn Dampfling, and Christian Meyer and Annerose and Walter RosIer. To the extent that this project was a pleasurable undertaking, much of that delight derived from my extended stays in Berlin, where I enjoyed the hospitality of many wonderful people. And, once again, I greatly appreciate the meticulous and thoughtful editing of Ann Louise McLaughlin.
ForĬlose and critical readings of the entire book manuscript, I would like to thank especially Sally Clarke, Barbara Jelavich, Michael I(ater, and Ellen Handler Spitz. I gained insights into the complexities of cabaret production, and the continuing relevance of these materials, from the performances of "Cabaret Verboten" organized by Jeremy Lawrence, and performed under the auspices of the Mark Taper Forum in Los Angeles and the CSC Repertory Theater in New York. Throughout the years, as I have given talks and published essays on Berlin cabaret, I have benefited from conversations with numerous scholars, colleagues, and "nameless members of the audience." In the initial stages of this project, as well as thereafter, I received very valuable orientation from Ingrid Heinrich-Jost and Walter RosIer. I would especially like to thank the wonderful staffs, and the splendidly helpful librarians of the Wissenschaftskolleg, where I began this project, and of the Getty Center, where I (almost) completed it. Research for this project was made possible by the generosity of the Wissenschaftskolleg zu Berlin, the American Council of Learned Societies, the University Research Institute of the University of Texas at Austin, and the Getty Center for the History of Art and the Humanities. I would like to express my deep gratitude to the librarians, archivists, and curators of the following institutions for their invaluable assistance: in (what was then) West Berlin, the Akademie der I(unste, the AmerikaGedenkbibliothek, the Berlin Document Center, the Berlin Museum, the Geheimes Staatsarchiv, the Landesarchiv, the Landesbildstelle, the Staatsbibliothek Preussischer I(ulturbesitz, the Theaterhistorische Sammlung Walter Unruh, and the Ullstein Bilderdienst in the former East Berlin, the documenta artistica collection of the Markisches Museum in Potsdam, the Brandenburgisches Landeshauptarchiv (formerly Staatsarchiv Potsdam) and the Bundesarchiv, Abteilungen Potsdam (formerly Zentrales Staatsarchiv Potsdam) in I(oblenz, the Bundesarchiv in Mainz, the Deutsches I(abarett Archiv/Reinhard Hippen in Amsterdam, the Nederlands Theater Instituut and the Rijksinstituut voor Oorlogsdocumentatie in Prague, the State Jewish Museum in Terezin, the Pamatnik Terezin and in Jerusalem, Yad Vashem. PN1968.G3J45 1993 792.7'09431'55-dc20 93-16096 CIP Designed by Gwen Frankfeldtįor my parents!, Barbara and Charles]elavichĬabaret was an ephemeral art, and its material remains are widely scattered. Theater-Political aspects-Germany-Berlin. Political satire, German-Germany-Berlin-History and criticism. Music halls (Variety-theaters, cabarets, etc. cm.-(Studies in cultural history) Includes bibliographical references (p. First Harvard University Press paperback edition, 1996 Library of Congress Cataloging-in-Publication Data The content remains identical to that of previous printings. Harvard University Press Cambridge, Massachusetts London, EnglandĬopyright © 1993 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America This book has been digitally reprinted.
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