Abstract
Cabaret in the German Democratic Republic was a truly popular art form: the audience shares a conspiratorial sense of excitement at risque allusions unthinkable in the mass media. With the fall of the Wall, ensembles had to make rapid changes in technique. The box office became the new censor and audiences grew smaller and less predictable. Although ensembles are now able to refer more directly to topical events, their main concern remains the broader underlying issues in society. The satire has to confront the complex of new issues which Reunification has brought with it, whilst retaining and reasserting a specifically East German sense of identity. This can be seen in the differing approaches of Potsdam’s ‘Obelisk’, the Berlin ‘Distel’ and the ‘Oderhahne’ in Frankfurt an der Oder, formerly professional cabarets of the GDR. This paper will consider issues of both production and reception during the process of change.
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