Editing Cabaret (section)

====Entertainment venues====
[[File:Café des aveugles.jpg|thumb|right|upright=1.4|The ''Café des Aveugles'' ("Café of the Blind") in the cellars of the [[Palais-Royal]] at the beginning of the 19th century]]
In the 18th century, the ''café-concert'' or ''[[café-chantant]]'' appeared, which offered food along with music, singers, or magicians. The most famous was the ''Cafe des Aveugles'' in the cellars of the [[Palais-Royal]], which had a small orchestra of blind musicians. In the early 19th century, many cafés-chantants appeared around the city; the most famous were the [[Café des Ambassadeurs]] (1843) on the [[Champs-Élysées]] and the Eldorado (1858) on boulevard Strasbourg. By 1900, there were more than 150 cafés-chantants in Paris.<ref>Fierro (1996), page 744</ref>
[[File:Santiago Rusiñol - Portrait of Erik Satie Playing the Harmonium - Google Art Project.jpg|thumb|left|The composer [[Eric Satie]] playing the harmonium at {{Lang|fr|[[Le Chat Noir]]|italic=no}} (1880s)]]
The first cabaret in the modern sense was {{Lang|fr|[[Le Chat Noir]]|italic=no}} in the bohemian neighborhood of [[Montmartre]], created in 1881 by [[Rodolphe Salis]], a theatrical agent and entrepreneur.<ref>{{Cite news|url=https://bonjourparis.com/archives/chat-noir-montmartre-cabaret/|title=Le Chat Noir: Historic Montmartre Cabaret|last=Meakin|first=Anna|date=2011-12-19|work=Bonjour Paris|access-date=2017-08-12|language=en-GB}}</ref> It combined music and other entertainment with political commentary and satire.<ref>(Haine 8).{{cite book|last=Haine|first=W.Scott|title=The Thinking Space: The Café as a Cultural Institution in Paris, Italy and Vienna|year=2013|publisher=Ashgate|isbn=9781409438793|pages=8|url=http://www.ashgate.com/isbn/9781409438793|access-date=2013-11-17|archive-url=https://web.archive.org/web/20150923185544/http://www.ashgate.com/isbn/9781409438793|archive-date=2015-09-23|url-status=dead}}</ref> The {{Lang|fr|Chat Noir|italic=no}} brought together the wealthy and famous of Paris with the bohemians and artists of Montmartre and the [[Quartier Pigalle|Pigalle]]. Its clientele "was a mixture of writers and painters, of journalists and students, of employees and high-livers, as well as models, prostitutes and true grand dames searching for exotic experiences."<ref name="Fierro, pg. 738">Cited in Fierro, ''Histoire et Dictionnaire de Paris'', pg. 738</ref> The host was Salis himself, calling himself a gentleman-''cabaretier''; he began each show with a monologue mocking the wealthy, ridiculing the deputies of the National Assembly, and making jokes about the events of the day. The cabaret was too small for the crowds trying to get in; at midnight on June 10, 1885, Salis and his customers moved down the street to a larger new club at 12 rue de Laval, which had a decor described as "A sort of Beirut with Chinese influences." The composer [[Eric Satie]], after finishing his studies at the Conservatory, earned his living playing the piano at the {{Lang|fr|Chat Noir|italic=no}}.<ref name="Fierro, pg. 738"/>
[[File:GOUDEAU&VIDAL - Au Moulin Rouge.jpg|thumb|upright|The [[Moulin Rouge]] in 1893]]
[[Image:Théophile-Alexandre Steinlen - Tournée du Chat Noir de Rodolphe Salis (Tour of Rodolphe Salis' Chat Noir) - Google Art Project.jpg|right|thumb|1896 advertisement for a tour of the first French cabaret show, {{Lang|fr|[[Le Chat Noir]]|italic=no}}.]]
By 1896, there were 56 cabarets and cafes with music in Paris, along with a dozen music halls. The cabarets did not have a high reputation; one critic wrote in 1897 that "they sell drinks which are worth fifteen centimes along with verses which, for the most part, are worth nothing."<ref name="Fierro, pg. 738" /> The traditional cabarets, with monologues and songs and little decor, were replaced by more specialized venues; some, like the ''Boite a Fursy'' (1899), specialized in current events, politics and satire. Some were purely theatrical, producing short scenes of plays. Some focused on the macabre or erotic. The ''Caberet de la fin du Monde'' had servers dressed as Greek and Roman gods and presented living tableaus that were between erotic and pornographic.<ref name="Fierro 1996 page 738">Fierro (1996) page 738</ref>

By the end of the century, there were only a few cabarets of the old style remaining where artists and bohemians gathered. They included the ''[[Théâtre des Noctambules|Cabaret des noctambules]]'' on Rue Champollion on the Left Bank; the [[Lapin Agile]] at Montmartre; and ''Le Soleil d'or'' at the corner of the quai Saint-Michel and boulevard Saint-Michel, where poets including [[Guillaume Apollinaire]] and [[André Salmon]] met to share their work.<ref name="Fierro 1996 page 738"/>

The [[music hall#Music halls of Paris|music hall]], first invented in London, appeared in Paris in 1862. It offered more lavish musical and theatrical productions, with elaborate costumes, singing, and dancing. The theaters of Paris, fearing competition from the music halls, had a law passed by the National Assembly forbidding music hall performers to wear costumes, dance, wear wigs, or recite dialogue. The law was challenged by the owner of the music hall ''Eldorado'' in 1867, who put a former famous actress from the Comédie-Française on stage to recite verse from Corneille and Racine. The public took the side of the music halls, and the law was repealed.<ref name="Fierro 1996, page=1006"/>

The [[Moulin Rouge]] was opened in 1889 by the Catalan Joseph Oller. It was greatly prominent because of the large red imitation windmill on its roof, and became the birthplace of the dance known as the French [[Cancan]]. It helped make famous the singers [[Mistinguett]] and [[Édith Piaf]] and the painter [[Henri de Toulouse-Lautrec|Toulouse-Lautrec]], who made posters for the venue. The ''Olympia'', also run by Oller, was the first to be called a music hall; it opened in 1893, followed by the Alhambra Music Hall in 1902, and the Printania in 1903. The Printania, open only in summer, had a large ''music garden'' which seated twelve thousand spectators, and produced dinner shows which presented twenty-three different acts, including singers, acrobats, horses, mimes, jugglers, lions, bears and elephants, with two shows a day.<ref name="Fierro 1996, page=1006">Fierro (1996), page 1006</ref>

In the 20th century, the competition from motion pictures forced the dance halls to put on shows that were more spectacular and more complex. In 1911, the producer Jacques Charles of the [[Olympia Paris]] created the grand staircase as a setting for his shows, competing with its great rival, the [[Folies Bergère]] which had been founded in 1869. Its stars in the 1920s included the American singer and dancer [[Josephine Baker]]. The [[Casino de Paris]], directed by Leon Volterra and then Henri Varna, presented many famous French singers, including Mistinguett, [[Maurice Chevalier]], and [[Tino Rossi]].<ref name="Fierro 1996, page=1006"/>

[[Le Lido]] on the Champs-Élysées opened in 1946, presenting Édith Piaf, [[Laurel and Hardy]], [[Shirley MacLaine]], [[Marlene Dietrich]], [[Maurice Chevalier]], and [[Noël Coward]]. The [[Crazy Horse (cabaret)|Crazy Horse Saloon]], featuring striptease, dance, and magic, opened in 1951. The Olympia Paris went through a number of years as a movie theater before being revived as a music hall and concert stage in 1954. Performers there included Piaf, Dietrich, [[Miles Davis]], [[Judy Garland]], and the [[Grateful Dead]]. A handful of music halls exist today in Paris, attended mostly by visitors to the city; and a number of more traditional cabarets, with music and satire, can be found.