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His Visit Opens Up A New World To Himthe Sensual, Free, Loose World Of ...

His visit opens up a new world to himthe sensual, free, loose world of cabaret lifeand after sampling this, it is clear that he will never be the same.
V. Conclusion
By tracing the development of the cabaret genre, from its early days in Paris, up through the German ‘Kabarett', as it was known, in the 1920s and 1930s, one can see how it became firmly entrenched as a vehicle for the oppressed. The year 1881 is often thought of as the landmark date for the start of cabaret, for this was the year in which Le Chat Noir came into existence in Paris. However, as has been pointed out, the notion of cabaret was already in existence; wine cellars were frequently the locale for live entertainment as far back as the fifteenth century. Cabaret soon became known as a meeting place for artists, writers, and performers; it game them a common gathering place in which camaraderie was established, ideas were shared, and history was made.
The form of cabaret that came into existence in 1881 had a more intellectual and artistic atmosphere, influenced greatly by the literary group of Hydropathes. It spread, as we have seen, throughout Europe; with the end of the censorship that had been rampant under the Wilhelminian era, cabaret settled in Berlin, a home in which it flourished and matured. As the genre developed, it became more widely accepted as well as increasingly popular; it also matured and lost some of the playfulness it was known for in Paris.
Historically, cabaret has been the voice of freedom. It has represented progress and been both a vehicle for self-expression and an instrument of change. Throughout history, we have seen that disasters will occur, events over which we have no controlwe also have seen that we have, and will, rally from them. To that end, we have art. But if, as Appignanesi points out, ‘the artist's metaphorical gun is no particularly potent weapon, it can still instigate shifts of awareness' (2004: p. 251). Art can remind us that there is another way of doing things, a fresh reality that we can hold onto and hope for. But ‘art' has not always been known for its accessibility. Cabaret is, in that sense, the art of the people, a haven that has historically attracted those for whom society holds in little regard: the impoverished, the marginal, the less fortunatethose who most needed to be heard but have little chance of having that happen.
References
Appignanesi, Lisa. 2004. The Cabaret. New Haven and London: Yale University Press.
Berg, James, and Freeman, Chris, eds. 2000. The Isherwood Century: Essays on the Life
and Work of Christopher Isherwood. London: University of Wisconsin Press.
Bucknell, Katherine. 2000. ‘Who Is Christopher Isherwood?' In Berg, James, and
Freeman, Chris, eds., The Isherwood Century: Essays on the Life and Work of
Christopher Isherwood.

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