German cabaret in Munich
The German sense of humor is an elusive animal, something like the Loch Ness monster - many people (Germans) claim to have spotted it, while others (the rest of us) search in vain for evidence of its existence. Germany does have its own brand of humor, though: not farcical like the Americans or sarcastic like the Brits, but drier and more calculating. This contemplative aspect of German humor is most readily apparent in German cabaret, or Kabarett, and Munich is its artistic center, with the country's most and best performances. According to Michael Altinger, a young Kabarettist from Landshut, "Kabarett is a table, a chair and a guy who has something to say." It is satire that pokes fun at daily life. It uses language and doublespeak to layer its intentions, often finding humor in the fact that the performer says one thing but means something entirely different. Traditional Kabarett is largely political in nature and most of the Kabarettist's ammunition is provided by the broad pallet of contemporary politics and social issues. Cabaret originated in France towards the end of the 19th century as a variety show for small audiences. Originally disparaging towards French bourgeois society, cabaret's critical focus remained when it made the jump to Germany around 1900. First established in Berlin, German cabaret retained the intimate atmosphere of the French but developed a dry, satirical sense of humor. Awash in the political turmoil and leftist movements of the 1920s, German cabaret took on the cast of bawdy backroom entertainment for working class men, but still remained witheringly skeptical of government and key political figures. The roaring '20s and '30s were the heyday of Berlin's Kabarett (with echoes in Munich), and provided a forum for the expression of antifascist sentiments. Kabarett's origins are still manifest in the liberal and critical bent of its themes. But what is the point of Kabarett today, in a Germany with steadfast democracy and secure political institutions? Cathérine Miville, theater director at the Lach- und Schießgesellschaft, explains that the point is still to inspire audiences to be more reflective about everyday ideas and issues. For well-known Kabarettist Thomas Freitag, Kabarett is about showing people alternatives. "If people don't know anything but fast food, they don't know how good other food can be." Kabarett is not pleased with the way things are, but prods people to think about the way they could, and perhaps should, be, he says. It challenges the status quo in all its forms. "Kabarett also looks forward. It's not just critical; it's about what's going to happen," says Miville. In the last five years, standup comedy has influenced Kabarett by adding a touch of American-style slapstick to what's traditionally been a more serious medium. While this has lightened the available fare, it has also shifted emphasis away from political satire and moved more in the direction of social criticism. Michael Altinger, a new entrant to Germany's cabaret circuit and 1996 winner of the prestigious Passauer Schafrichterbeil ("the sharp executioner's axe") award for best new Kabarettist, has found it difficult to establish himself despite his hefty CV and thoroughly entertaining program. Cathérine Miville attributes the uphill struggle of young performers like Altinger to the average German's declining interest in politics. In addition, during the last 20 years, many substandard Kabarettisten have cropped up to take advantage of the latest boom in Kabarett, biting into the overall quality and reputation of the medium. On the other hand, rumors of declining interest in Kabarett have always circulated, in the best and worst of times. "Kabarett has always been declared dead," says Miville. "It is the 100-year-old corpse." Members of theimprovisation-oriented FastFood Theater: RolandTrescher (left), GabrieleHeller and Andreas Wolf(right) For the native-English speaker interested in Kabarett, the most important consideration is language. Without a solid understanding of German, a foreigner doesn't stand a chance of getting anything out of a Kabarett performance other than seeing his German friends chuckle knowingly. Also, as Kabarett draws its humor out of the problems of the day, the theatergoer has to have a firm grasp on current events in Germany. To complicate matters even further, Kabarett is often a word game that plays on the double meanings of words and phrases, and much of what's available in Munich is performed in the melodious but difficult Bavarian dialect. Kabarett is entertainment that makes one think. It's not meant to be knee-slapping humor, but it is most definitely funny. However, it's also a distinctly German institution, and is based on and caters to German sensibilities. "German humor is found in the ordinary details of life," says Altinger. "The audience can identify with the problems the Kabarettist describes, so they laugh. This kind of humor is by definition very close to the audience." The native-English speaker might not catch every subtle jibe in every performance, but can decide for himself if German humor is misunderstood genius, or just misunderstood. Munich's main Kabarett venues are Lach- und Schießgesellschaft and Münchener Lustspielhaus; see "What's Up" for a Kabarett listing. Monthly Kabarett on TV: at 22:15 on May 30 this month, BR3 hosts "Ottis Schlachthof"; at 22:30 on May 4, Dieter Hildebrandt hosts "Scheibenwischer" on ARD.