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It Spread, As We Have Seen, Throughout Europe; With The End Of The Censorship ...

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
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Christopher Isherwood. London: University of Wisconsin Press, pp. 1330.
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Jackson, Jeffrey. 2000. ‘Music-Halls and the Assimilation of Jazz in 1920s Paris'.
Journal of Popular Culture. Fall 2000, Vol. 34, Issue 2, pp. 6982.
Krafft, Scott. 2006. ‘Shadow Theatre of Montmartre'. From the Charles Deering
McCormick Library of Special Collections. Retrieved electronically on August 25, 2006, from http://www.library.northwestern.edu/librarybriefings/archives/000830.html
Rearick, Charles. 1988. ‘Song and Society in Turn-of-the-Century France'. Journal of
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Simmons, Sherwin. 2000. ‘Ernst Kirchner's Streetwalkers: Art, Luxury, and Immorality
in Berlin, 19131916'. The Art Bulletin, March 2000.
Shuttleworth, Antony. 2000. ‘In a Populous City: Isherwood in the Thirties'. In Berg,
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