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The Making of Cabaret$
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Keith Garebian

Print publication date: 2011

Print ISBN-13: 9780199732494

Published to Oxford Scholarship Online: May 2011

DOI: 10.1093/acprof:oso/9780199732494.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 22 April 2021

Cabaret Ambience

Cabaret Ambience

(p.50) Chapter 4 Cabaret Ambience
The Making of Cabaret

Keith Garebian

Oxford University Press

This chapter begins with a survey of the history and development of European cabaret (specifically in France and Germany) in order to show that serious artists learned from cabaret even as they developed it. The chapter then focuses on the creation of the show's ambience, noting that this ambience frequently ran counter to the tone and impulse of the real cabaret world in Europe of the thirties. Although John Kander and Fred Ebb did not explicitly exploit the political and social wit of German cabaret or the wide scope of the form, they did reproduce the role of the Emcee. The show's look was completed by Patricia Zipprodt's costumes, which were divided into the presentational and metaphorical, on the one hand, and the realistic and the mundane, on the other hand. The chapter examines the limits placed on Harold Prince's concept by the sociology and politics (including the scope of eminent performing satirists) of America in the sixties.

Keywords:   European cabaret, Post–World War I Kabarett, Bertolt Brecht, Kurt Weill, Harold Prince, American nightclub satirists, costumes, Patricia Zipprodt

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