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Women In Cabaret Women Were Not Actively Involved In Cabaret In These Early ...


Women in Cabaret
Women were not actively involved in cabaret in these early days, but they were not completely unrepresented. Yvette Guilbert (18671944) was one of the few women of this time period who performed cabaret-type songs. She got her start in traditional theatre in Paris, but soon moved to Montmartre, which was truly the center of artistic spirit at the time. Her style was unique; she would both speak and sing her lyrics, a trait for which she was soon known as ‘diseuse fin de siècle', or end-of-the-century teller. She appeared primarily in such venues as the Divan Japonais, the Moulin Rouge, and Les Ambassadeursthough she did not perform in cabarets themselves. In the early days of cabaret, however, women were a rarity: Appignanesi points out that ‘the form had to travel to Germany and Austria before women became an integral part of its make-up' (2004: p. 29).
II. Cabaret in Berlin
Cabaret began to spread in popularity, moving far beyond the boundaries of Paris and France. It became even more popular all across Europe at the end of World War I, where it found a comfortable niche in which to flourish. Wilhelmine Germany, however, was not as free-spirited as Paris was: ‘A hierarchical structure of authority prevailed, engendering a multitude of uniformed officials, encouraging yes-men and political disaffection' (Appignanesi, 2004: p. 36). During this time period, corruption was as widespread as it was treacherous. In addition, strict censorship made it difficult for any kind of art to flourish. Artists and writers who expressed ideas that were considered unacceptableand most ideas at the time werewould have their performances stopped, their work seized. In some cases, the artists themselves would be imprisoned. Around 1900, however, the atmosphere began to change. Thinkers like Nietzsche began to have more and more influence, and new ideas and thoughts began to circulate. Eventually, artists who had been kept down for so long were finally free to express themselves.
Roots in Munich
At the turn of the century, the city that was known as the center for the arts in Germany was Munich. This is where Simplicissimus got its start and continued to flourish. The Schwabing district was home to a number of artists and performers. The end of the censorship that had been rampant under the Wilhelminian era finally arrived, and the Weimar Republic had begun. At this point, the old order in Berlin ceased to exist, and it soon became the cosmopolitan capital of Germany.
Otto Julius Bierbaum and Deutsche Chansons
In 1900, Deutsche Chansons made its debut. This book, published by Otto Julius Bierbaum, was a collection of singable poems, including works by Richard Dehmel, Arno Holz, and Frank Wedekind.

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