Patt, Len, and Becker, Tobias. "Berlin/London: London/Berlin – Cultural Transfer, Musical Theatre and the Cosmopolitan, 1890-1914." Nineteenth Century Theatre and Film, 40, no. 1 (2013): 1-14.

"Schaubühne." Wikipedia.com. Accessed October 31st, 2017. https://en.wikipedia.org/wiki/Schaubühne

"The Theatre: Architecture." Schaubühne. Accessed October 31st, 2017. https://www.schaubuehne.de/en/pages/architecture.html

Film and cultural influence shaped the perception of what the cinema meant in 1920s Berlin, mostly attracting the public based on technological advances, rather than what was being played[9]. The significance of this site relates to its physical transformation after the destruction faced in WWII and the transformation the cinema experienced to become the lyric theatre it currently is. The building was transformed from a cinema to a spoken theatre, which performs controversial, yet popular, shows in Berlin to this date[10]. Research that has been conducted on the era prior to the first World War suggests that the development of a vibrant culture exploded across Europe, primarily in Berlin and London[11]; through this explosion of entertainment culture, a unique Berlin-experience emerged. With the reformation of the cinema to a spoken theatre, the longevity of the effects of cabaret culture persist. Author Jack Zipes reported on the progression of Schaubühne in 1977, suggesting that this theatre is generally regarded as one of the finest ensembles in Europe[12]. Understanding the significance of this site, more importantly its transformation, provides insight to the state of post-war Berlin culture in this period.

After WWI, German film production receded, and continued to fall during the inflation emerging in 1923[13]. According to the London times in 1957, majority of German actors had fled to Hollywood[14]. This fleeing was a result of the fact that after 1933, theatres and their artists were banned from performing on the German stage, specifically those individuals whom were Jewish, under the Nazi regime[15]; this change was reflected in the film industry as well[16]. This halt in the performance culture that boomed in Berlin, initiated the transformation of this site. As it was mentioned, the cinema suffered harsh damage in the battles of WWII, and with the end of the war, the restriction on theatre performances was lifted. As Schaubühne emerged in reformation of a modern theatre, it was arguably representative of the lifting restrictions imposed by the Nazi regime. Schaubühne is a significant site to represent the lasting-effect that cabaret has in Berlin; as a visual representation of classic theatre, this site is important to our understanding of what cabaret was like in the historical context of the 1920s and 1930s.

Sources

"A Little-Known Period in The German Cinema." London Times, 3, (1957). Accessed from http://find.galegroup.com/ttda/infomark.do?&source...

Dove, Richard. "A Tale of Two Cities: The Actors Lilly Kann and Martin Miller in Berlin and London 1933-1945." Amsterdamer Beiträge zur Neueren Germanistik, 88, (2016): 20-41.

Flickinger, Brigitte. "Cinemas in the City: Berlin's Public Space in the 1910s and 1920s." Film Studies, no. 10 (2007): 72-86.

Patt, Len, and Becker, Tobias. "Berlin/London: London/Berlin – Cultural Transfer, Musical Theatre and the Cosmopolitan, 1890-1914." Nineteenth Century Theatre and Film, 40, no. 1 (2013): 1-14.

Zipes, Jack. "Utopia as the Past Conserved:" An Interview with Peter Stein and Dieter Sturm of the Schaubühne am Halleschen Ufer." Theater, 9, no. 1, (1977): 50-57. doi:10.1215/00440167-9-1-5

[1] "Schaubühne." Wikipedia.com. Accessed October 31st, 2017. https://en.wikipedia.org/wiki/Schaubühne

[2] "The Theatre: Architecture." Schaubühne. Accessed October 31st, 2017. https://www.schaubuehne.de/en/pages/architecture.html

[3] "Schaubühne." Wikipedia.com.

[4] Ibid.

[5] "The Theatre: Architecture." Schaubühne.

[6] Len Patt & Tobias Becker, "Berlin/London: London/Berlin – Cultural Transfer, Musical Theatre and the Cosmopolitan, 1890-1914." Nineteenth Century Theatre and Film, 40, no. 1 (2013).

[7] Ibid.

[8] Brigitte Flickinger, "Cinemas in the City: Berlin's Public Space in the 1910s and 1920s," Film Studies, no. 10 (2007).

[9] Len Patt & Tobias Becker, "Berlin/London"

[10] Ibid.

[11] Ibid.

[12] Jack Zipes, "Utopia as the Past Conserved," An Interview with Peter Stein and Dieter Sturm of the Schaubühne am Halleschen Ufer," Theater, 9, no. 1, (1977). doi:10.1215/00440167-9-1-50

[13] Brigitte Flickinger, "Cinemas in the City", 82.

[14] "A Little-Known Period in The German Cinema." London Times, 3, (1957). Accessed online.

[15] Richard Dove, "A Tale of Two Cities: The Actors Lilly Kann and Martin Miller in Berlin and London 1933-1945," Amsterdamer Beiträge zur Neueren Germanistik, 88, (2016).

[16] Brigitte Flickinger, "Cinemas in the City", 83.