The Cabaret Commons Critical Practice (CCCP) is a venue for publishing in multimedia formats, reviews, responses, rants, and processes on everything to do with translocal grassroots cabarets and their worlds.
My project with the collection assists its transition from the private sphere to the archival one, starting with Le Boudoir. This iconic event, which primarily took place at the historic Lion d’Or (a cabaret theatre in Montreal), usually assembled a dozen short cabaret acts, as well as a one-hour vaudeville play written and directed by Nathalie Claude, in latter years.
Macha(s) can refer to women in general, femme people, butch women or gay men, feminine gay men, lesbians in general, trans people, feminists, allies of any gender, ourselves, our party guests, friends, lovers, etc. The touchstone for considering someone a macha is their queer complicity. A macha simply “gets” they are a macha; they participate in our code and relajo.
The practice is where the public and private intersect, often on the backs of unpaid labour, a labour that sometimes involves love, at other times an obsessive repetition and treacherous deconstruction in the attempt to reach the impossible complete articulation.
The critical impulse to be, create and survive through sharing is what makes a show. The stage happens when performers and audience show up. Cabaret happens before during and after the show, it resides in a specific type of creation and spectatorship
We’re aiming to highlight/honour cultural materials and knowledges richly embedded in their sociocultural systems, primarily for the benefit (and whatever profit means when we’re not talking about money) of those who create, use, circulate and make them meaningful.
The cabaret as we understand and practice it here at the Cabaret Commons is, loosely, a live show made up from a variety of short acts, often featuring different performers in each act, and composed of many different forms, thematics and styles of performance or presentation.