By Robert Orben
Hundreds of thousands of jokes supply a funny standpoint on airways, paintings, activities, gardening, resorts, university, urban existence, the government, inventory industry, marriage, playing, and the economy
Note from the uploader: those jokes should not humorous.
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Extra info for 2400 Jokes to Brighten Your Speeches
He conceded that people desiring "bodily beauty, power, and skill" could readily turn to the acrobatic numbers in vaudeville shows. " These were the genres that had to be "ennobled," and Wolzogen called upon "genuine artists, poets, composers, actors, and singers" to do for vaudeville what painters and sculptors had done for the applied arts. He envisioned an "artistic variety show," sans acrobatics, where smaller and more intimate genres of the performing arts would find a worthy home. 5 On the basis of this proposal, Wolzogen persuaded various people to loan him sums of 500 and 1000 marks, payable at 10 percent interest at an unspecified future date.
Just as Bierbaum contended that modern audiences could no longer sit through multiact plays, Panizza argued that modern writers could not compose them anymore: once vaudeville destroyed the aura of classicism, it never could be restored. He pointed to the paintings of Franz Stuck, Frank Wedekind's play Spring Awakening, and Otto Erich Hartleben's version of the lyric cycle, Pierrot lunaire, as examples of the intrusion of the vaudeville spirit into all spheres of the arts. Panizza's own blasphemous drama, The Council of Love (1894), for which he was sentenced to a year in jail, likewise included gymnastics, wrestling bouts, boisterous sexuality, and other vaudevillian elements.
But such topics were broached in the face of authorities that espoused renunciation. The most effective censor sat, in fact, in the public's head. Often prevailing norms had been internalized so successfully that audiences were unwilling to hear performers who challenged their political or moral values. The most successful entertainers were those who spoke to people's repressions, but did not call for a major restructuring of thought or action. Ultimately, by the Weimar era, that came to be seen as one of the major pitfalls of cabaret: it could be a safety valve, where the spectators would "let off steam" through laughter, but then proceed to live as they always had.