by the late 1930s, evinced awe for the cabaret alone, for what he worshipped from his cheap student seat in as a synthesis of production, writing, composing, design, direction, Qui Pro Quo and often improvisational performance To a certain extent, Jurandot’s attitude towards the . cabaret represents the inevitable professionalization of those involved, the shift from the daring or slumming poet to the well-schooled lyricist and sketch writer. Yet Jurandot never loses his reverence for the cabaret as miraculous spectacle and cabaret work as a high calling. In his personalized history of interwar Polish cabaret, [The history of laughter], Dzieje śmiechu Jurandot expounds on the of composing the song” as well as the hit (szlagier): art “theatrical In a theatrical song (or stage song, eventually a cabaret song what you will), the words – are just as important and often more important than the music. These songs are designed for the actor’s interpretation, they are songs with a plot, songs in which something happens the stage is set, the action unfolds and moves ultimately towards an ending – pointe…. The composition of a hit song, according to Jurandot, is governed by different rules: its text may be poetic and beautiful, it does not exist apart from its melody; without the “Though melody, it loses all sense and taste.” While composers needed to devise a catchy musical hook, lyricists had to produce an equally catchy that is, first words of the refrain”: szlagwort – “the higher school of songwriting depended on creating a which would fit as the right szlagwort “The response to multiple questions this enriched the song with unexpected changes in mood, – making it deft and witty.”
by the late 1930s, evinced awe for the cabaret alone, for what he worshipped from his cheap student seat in Qui Pro Quo as a synthesis of production, writing, composing, design, direction, and often improvisational performance . To a certain extent, Jurandot’s attitude towards the cabaret represents the inevitable professionalization of those involved, the shift from the daring or slumming poet to the well-schooled lyricist and sketch writer. Yet Jurandot never loses his reverence for the cabaret as miraculous spectacle and cabaret work as a high calling. In his personalized history of interwar Polish cabaret, Dzieje śmiechu [The history of laughter], Jurandot expounds on the art of composing the “theatrical song” as well as the hit (szlagier): In a theatrical song (or stage song, eventually a cabaret song – what you will), the words are just as important and often more important than the music. These songs are designed for the actor’s interpretation, they are songs with a plot, songs in which something happens – the stage is set, the action unfolds and moves ultimately towards an ending pointe…. The composition of a hit song, according to Jurandot, is governed by different rules: “Though its text may be poetic and beautiful, it does not exist apart from its melody; without the melody, it loses all sense and taste.” While composers needed to devise a catchy musical hook, lyricists had to produce an equally catchy szlagwort – that is, “the first words of the refrain”: “The higher school of songwriting depended on creating a szlagwort which would fit as the right response to multiple questions – this enriched the song with unexpected changes in mood, making it deft and witty.”
CabaretNationHolmgrenPolin.docx