Ne nur kato verdis kabarete

The article traces the history of cabaret and satirical performance in the Esperanto cultural movement, beginning with the decline of the Parisian ensemble La Tri Koboldoj in 1956 and the emergence of the Polish student group Verda Simio. These young performers used satire to expose the absurdities, taboos and self-important conventions of Esperanto society, encouraging younger audiences to laugh at the movement’s sacred cows.
Silfer recalls the group’s performances in Poland and at international Esperanto events, including productions such as Tra la verda vitro, Kongresaj postrestaĵoj, Frenezaĵoj, Rondo de junaj rabistoj and Komuna fotografaĵo. The essay emphasizes the importance of humour, improvisation and self-criticism within a minority cultural community.
The discussion then moves to the broader history of Esperanto theatre, including the work of the International Art Theatre (IAT) in Paris and the contribution of Croatian actor and director Srdjan Flego. Particular attention is given to his adaptation of the medieval French farce Advokato Patleno, his use of dialect, invented speech and grameloto, and his attempts to demonstrate that Esperanto could support serious international theatrical production.
The article also examines Flego’s later productions, including the vaudeville Holanda pupo by Julio Baghy, performed with music by Mihály Sárossy. The performance is presented as an example of how comedy, songs, improvisation and references to Esperanto life could combine popular entertainment with cultural ambition.
In its concluding section, the essay evaluates the legacy of IAT. During eleven years, the theatre presented thirty-three plays and monologues in fifty-three evenings, including world-literature classics, modern works, South Slavic authors and original Esperanto pieces. Silfer interprets this repertoire as a miniature reflection of Esperanto culture, with its strengths, weaknesses, ambitions and internal contradictions.
The article argues that the decline of IAT was caused not only by financial difficulties but also by a lack of understanding from critics and audiences. It concludes that Esperanto theatre, whether cabaret, farce or vaudeville, has an essential social function: a people that cannot laugh at itself has not yet reached cultural maturity.