The Book Berlin Cabaret Lavich

Fosse began his dancing career by getting opportunities to dance in Burlesque clubs. At a young age he was exposed to and had to deal with crass men treating women as sexual objects on stage. As his career advanced Fosse received fewer and fewer opportunities, he began to doubt his abilities and grew more and more depressed with each disappointment. Because of his lack of self-confidence he became a choreographer. Fosse created a unique style which audiences loved. He used his own insecurities as a dancer and turned them into strengths. Fosse’s style was rooted in jazz. He was devoted to minute details, precision, repetition, isolation and gestures. A signature of Fosse’s choreography was the turned in feet. Fosse created this signature because turnout was difficult for him. In addition to movement contributions, Fosse’s choreography also created dancers who could act. Fosse wanted his dancers to show what they were thinking and saying clearly through movement. Every detail had a purpose and said something. Fosse’s highly talented choreographic skills and style was craved by audiences. This popularity took Fosse into the realm of film and direction (biography.com). Within the article “Bending the Genre: The Stage and Screen Versions of Cabaret” by Randy Clark, the differences between the stage and screen version are shown. For my purposes, I am going to focus on the points discusses in the Fosse and the

Punch-drunk is a British company that performs a wide variety of theatrical performances and transforms them into the wild and the peculiar. It was founded in 2000 (En.wikipedia.org. (2017) by Artist and Director Felix Barrett, who was award an MBE on July 5th 2017 for his work in the theatre industry (Anon, (2017). The Company has been producing shows for 17 years, taking classical storytelling and adding their own twist on the story. The stories are then turned into real-life pieces that are not staged in a typical classical theatre, but in various locations that are well-suited to each part of the story for example, an old warehouse or an ancient asylum. This gives the audience a sensory perception of the world around them and presents them with a joyful experience of witnessing a story told in a way that’s not just the lifeless classical proscenium arch stage layout and more of a place where they can watch the action at different angles taking audience awareness out of the picture and applying the “Fourth wall technique” used by Dennis Diderot (En.wikipedia.org. (2017). This keeps the audience on edge and scares ordinary audiences away from Punch-drunk as the work that they produce is regarded as “out of the ordinary “by most classical theatre audiences. Some of the parts of the story contains physical theatre (Punch-drunk (2017). making the performance non-naturalistic and naturalistic, simultaneously.

In late 19th century Paris, cafés-concerts (best described as “glorified beer halls” (Clark 206)) were a very popular destination for the people of Paris. Cafés-concerts became an integral part of Parisian social life, as they were visited by hundreds of people each night, regardless of class. A bar at the Folies Bergère became the topic of Edouard Manet’s last painting, as Manet tried to portray the new, “modern” Paris, and the introduction of mass production during this time. A Marxist art historian, T.J. Clark finds this particular painting important because it revealed a lot about the new, modern Paris, and Manet’s intentions with the painting. Clark focuses more on the emergence of the new social class during this time, and how this affected the role of women in Paris. The painting, A bar at Folies Bergère, has historical significance because of how it depicts modernity in the context of the emergence of a new social class (the petite bourgeoisie), the introduction of mass production, and the changing role of women.

This phenomenon was replicated at the University of Michigan’s SMTD performance of The Resistible Rise of Arturo Ui, written by Bertolt Brecht. This play told the story of the rise of gangster Arturo Ui and the corruption of the cauliflower business in order to satirize the rise of Hitler. Despite this being a play, rather than a musical, the use of Copland’s “planes of listening” still apply. Theater-goers can still view the work with different approaches- either purely surface level, meaning-driven, or technical, like the “planes of listening Copland describes.

This is a must watch Broadway show that makes your fine, terrible, or even boring day, an absolute blast. The Play That Goes Wrong has finally made its way to America and right at the heart of New York City near Times Square at the Lyceum Theatre. Therefore, the experience is a win-win situation for the audience. The Lyceum Theatre’s architecture is astonishing as it is filled with ornaments, I also realized the letter ‘L’ around the theater, but the most interesting fact is that it is a landmark. It has a proscenium stage while the audience is in the orchestra, balcony, or the mezzanine seats, like where I sat, and there is barely any space if you are a tall person. My seat was near the far end of mezzanine, I couldn’t see a part of the left side of the stage, so I found myself bending sideways to see what was going on, but I saw nothing. I found the side stage lights and a side balcony blocking my view and yet I had a great time.

At the end of World War I, an excited America was poised for a cultural renaissance; patriotism was on the rise, the strong concept of Manifest Destiny had passed its peak of influence, and, most importantly, there had not been a clear shift in culture for decades. The Jazz Age of the 1920s was about to dawn, bringing with it youthful, risqué morals and a carefree look on life. From these ideals, a new, strongly American form of entertainment would emerge: musical theatre. Most commonly found in New York City on Broadway even to this day, musical theatre became an escape from reality and an entry into the imagination. The grand and splashy components that make up what is considered a classic Broadway musical can ultimately be traced back to Cole Porter. Porter’s writing, albeit at times controversial or raunchy, was able to harness the frantically beating heart of the Jazz Age and turn it into treasured shows. Using his unique melodies, romantic or idealistic lyrics, and his pioneering of writing about the human experience, Cole Porter shaped American music and theatre from the 1920s through the 1940s.

Jukebox musicals began in film and later shifted to theatre. They had begun to make theatre more popular with the public, which had begun to gravitate towards film and music. By combining the two, they gain some of the same as well as a whole new audience. I will discuss how this came to be by speaking of the shift that occurred.

As we dressed for the show, my thoughts were flooded with images and ideas. We descended the hotel stairs, hailed a taxi, and arrived at the theatre; while I remained in a pleasant daze. My first impression of the Nederlander met and exceeded all my expectations. I had envisioned an old theater, forgotten by the Broadway elite. As we walked to the door, we were able to see the wall signed by the cast and photos of the premier. The theater itself had a rundown feel to it and left you with the distinct impression that the magic was within the walls and on stage. As we entered the doors, I soaked in every thing. Our seats were located in the center, orchestra section, which gave us a perfect view of all the action.

The opening routine, 'Wilkommen', is a powerful introduction to the opposing worlds of the protagonists Brian and Sally and also indicates the significance all songs in the Cabaret will be instilled with. As the camera moves from the distorted mirror to the grotesquely masked face of the Master of Ceremonies (Joel Grey) who claims, 'I am your host, wilkommen', the need

Cabaret (1972) Cabaret (1972) directed by Bob Fosse and edited by David Bretherton. Starring Eliza Minelli, Michael York, and Joel Grey. Fosse’s film has earned eight Academy Awards and is an adaptation of the play Cabaret from Broadway. The film is set in the early 1930’s in Berlin just before the rise of the Nazi’s, with a singer named Sally Bowles who works in a night club and has a dream of making it big.

1. What is the most important point of the readings and why? The most important point of the reading “The City and the Stage, City of the Mind, Street Food, Gladiators and Marathon Runners & The Park” by P.D. Smith highlights the history of theatre in European countries that contributed to the forms of entertainment, the significance of the European Enlightenment, the benefits of street food & fast food restaurants worldwide, the importance of sports worldwide, and the importance of parks from past to present (Smith, 247-280). This point is important because it discusses how these topics impact the ancient and modern urbanization (Smith, 247-280). 2.

Childlike, absurd, dreamlike, and ambiguous are not really words that you expect to describe four infamous artists during the late nineteenth and early twentieth century. Alfred Jarry, Henri Rousseau, Erik Satie, and Guillaume Apollinaire, great artists of their time, are all described by Roger Shattuck by those four words in his book, The Banquet Years. Though all four of the artists are described by all four, there is one characteristic that is more important to the others with each individual person. Specifically, the childlike quality of Henri Rousseau, a self-taught painter that received much criticism about his artwork, is the most important quality of the painter because of the depth it adds to the meaning of his paintings. Many critics

The show’s sole cast member, he takes on the immense challenge of a one man show with virtuosity and tenacity, performing for nearly two hours without intermission while still managing to maintain the audience’s thorough attention throughout. Felder plays his spectators like a fiddle, eliciting powerful emotional reactions from them with his commanding stage presence and breathtaking musical ability. His acting is slightly exaggerated to ensure that the audience understands the emotion he is emitting, but it remains subtle enough that it does not distract from the performance; it still comes off as realistic. The very intent of the production is made loud and clear by Felder from the very first scene when an elderly and jaded Berlin laments on the utter ignorance of today’s society to the younger, unwearied image of himself. So many Americans cheerfully serenade my songs without truly understanding or appreciating the meaning behind them, he bemoans. And to that, his younger self answers with a “Well, then let’s show them.” The audience is then taken on a one-hundred-and-one year long journey through the entirety of Berlin’s life, beginning in 1888 with his birth and ending in 1989 with him on his

Bergeron, paradoxically yet successfully, chooses to get to the core of the French mélodie by looking at it from a distance. Her focuses on the mélodie’s complex relationship with the German Lied, the pedagogical movements of the French language in the late-nineteenth century, and Claude Debussy’s opera Pelléas et Melisande in order to “examine the range of French expression [Debussy] puts on stage and how he represents that range in music” are all indirect yet inventive ways in which Bergeron embraces the challenges of defining this elusive vocal genre (xiii). Perhaps Bergeron sets out to define the French mélodie through indirect methods for exactly that reason; a genre as complex as the mélodie could not be fully understood if one attempted to get to its center through traditional means. Stating that French art song is “a musical repertory based on […] delicacy and restraint […]”, Bergeron clearly has a grasp on

At the turn of the century Paris was one of the capitals of culture and art to the outside world. However, the truth of the matter was that this taboo-ridden society was being run by an aristocracy that was repressing the arts. Naturally, when World War 1 broke out, the suppressed French society finally had a release and a rebellion against order arose. WWI specifically affected the theatre of French and it’s aftermath. From the ashes of war the avant-garde theatre grew and styles such as Dadaism and Surrealism were born. It was both the climate of culture before the war and the devastation of the war that lead to the outbreak of avant-garde theatre in France.