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Winner of the Society for Theatre Research Book Prize - 2016 This is the final volume in a new paperback edition of Steve Nicholson's definitive four-volume survey of British theatre censorship from 1900-1968, based on previously undocumented material, covering the period 1960-1968. This brings to its conclusion the first comprehensive research on the Lord Chamberlain's Correspondence Archives for the 20th century. The 1960s was a significant decade in social and political spheres in Britain, especially in the theatre. As certainties shifted and social divisions widened, a new generation of theatre makers arrived, ready to sweep away yesterday's conventions and challenge the establishment. Analysis exposes the political and cultural implications of a powerful elite exerting pressure in an attempt to preserve the veneer of a polite, unquestioning society. This new edition includes a contextualising timeline for those readers who are unfamiliar with the period, and a new preface. DOI: https://doi.org/10.47788/TGOJ9339
In the world of globalized media, provocative images trigger culture wars between traditionalists and cosmopolitans, between censors and defenders of free expression. But are images censored because of what they mean, what they do, or what they might become? And must audiences be protected because of what they understand, what they feel, or what they might imagine? At the intersection of anthropology, media studies, and critical theory, Censorium is a pathbreaking analysis of Indian film censorship. The book encompasses two moments of moral panic: the consolidation of the cinema in the 1910s and 1920s, and the global avalanche of images unleashed by liberalization since the early 1990s. Exploring breaks and continuities in film censorship across colonial and postcolonial moments, William Mazzarella argues that the censors' obsessive focus on the unacceptable content of certain images and the unruly behavior of particular audiences displaces a problem that they constantly confront yet cannot directly acknowledge: the volatile relation between mass affect and collective meaning. Grounded in a close analysis of cinema regulation in the world's largest democracy, Censorium ultimately brings light to the elusive foundations of political and cultural sovereignty in mass-mediated societies.
John Houchin explores the impact of censorship in twentieth-century American theatre. He argues that theatrical censorship coincides with significant challenges to religious, political and cultural traditions. Along with the well-known instance of the House Un-American Activities Committee in the 1950s, other almost equally influential events shaped the course of the American stage during the century. The book is arranged in chronological order. It provides a summary of censorship in eighteenth- and nineteenth-century America and then analyses key political and theatrical events between 1900 and 2000. These include a discussion of the 1913 riot after the Abbey Theatre touring produdtion of Playboy of the Western World; protests against Clifford Odet's Waiting for Lefty, performed by militant workers during the Depression; and reactions to the recent play Angels in America.
This collection reveals the wide-ranging impact of the Stage Licensing Act of 1737 on literary and theatrical culture in Georgian Britain. Demonstrating the differing motivations of the state in censoring public performances of plays after the Stage Licensing Act of 1737 and until the Theatres Act 1843, chapters cover a wide variety of theatrical genres across a century and show how the mechanisms of formal censorship operated under the Lord Chamberlain's Examiner of Plays. They also explore the effects of informal censorship, whereby playwrights, audiences and managers internalized the censorship regime. As such, the volume moves beyond a narrow focus on erasures and emendations visible on manuscripts to elucidate censorship's wide-ranging significance across the long eighteenth century. Demonstrating theatre archives' potency as a resource for historical research, this volume is of exceptional value for researchers interested in the evolving complexities of Georgian society, its politics and mores.
"This is a profound and tragic vision of humanity at its bare, forked basics" (Patrick Marmion, Evening Standard) The Censor is "a gripping brief encounter between a pornographic film actress and the man with the licensing scissors. A moving parable of the critic and artist as a healing and finally tragic, love story." (Michael Coveney, Daily Mail)
Using previously unpublished material from the National Archives, this book provides a thoroughgoing account of the introduction and abolition of theatre censorship in England, from Sir Robert Walpole's Licensing Act of 1737 to the successful campaign to abolish theatre censorship in 1968. It concludes with an exploration of possible new forms of covert censorship.
Since the Enlightenment, French theatre has occupied a prominent place within French thought, society and culture, but as a subject of study it has remained a purview of theatre historians, literary scholars and aestheticians. They focus on the emergence of the modern theatre as change generated from within bourgeois literary drama but ignore theatre as a complex social practice. Theatre, Politics, and Markets in Fin-de-Siècle Paris investigates the dynamic relationships among the avant-garde, official culture and the commercial sphere, arguing against the neat divide of 'high' and 'low' culture by showing how cultural forms of varying social origins influenced each other.
John Houchin explores the impact of censorship in twentieth-century American theatre, arguing that theatrical censorship coincided with significant challenges to religious, political and cultural systems. The study provides a summary of theatre censorship in the eighteenth and nineteenth centuries and analyses key episodes from 1900 to 2000. These include attempts to censure Olga Nethersole for her production of Sappho in 1901 and the theatre riots of 1913 that greeted the Abbey Theatre's production of Playboy of the Western World. Houchin explores the efforts to suppress plays in the 1920s that dealt with transgressive sexual material and investigates Congress' politically motivated assaults on plays and actors during the 1930s and 1940s. He investigates the impact of racial violence, political assassinations and the Vietnam War on the trajectory of theatre in the 1960s and concludes by examining the response to gay activist plays such as Angels in America.