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Author:   Anne Etienne ,  Graham Saunders
Publisher:   Springer International Publishing AG
Imprint:   Palgrave Macmillan
Edition:   2024 ed.
ISBN:  

9783031672989

ISBN 10:   3031672984
Pages:   670
Publication Date:   29 November 2024
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Manufactured on demand  
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Table of Contents

1.Theatre Censorship: an Unceasing (un)Official Menace? .-  2.Theatre Censorship in New Spain in the 17th-18th centuries.-  3.Theatre Censorship in Restoration London: The Case of Charles Killigrew, Master of the Revels .-  4.Theatre Censorship in the Age of Liberty? The Case of the French Revolution .-  5.Manoeuvering in Contested Space: Theatre-makers under Censorship in Early Nineteenth-Century Germany .-  6.Theatre Censorship in Denmark and Norway.- 7.The Catholic Church vs. the Quebec Theatre (1859-1914) .-  8. Cultural Conflict and Versions of Censorship in Post-Reformation Scottish Theatre .-  9. Theatre Censorship in Nazi Germany .- 10. Ideological Surveillance, Censorship and Retaliation .- 11. Old and New Censorship in Contemporary Spanish Theatre .- 12. Staging Reconciliations and Rainbowisms: The Paradox of Censorship in South Africa and Zimbabwe .- 13. Theatre Censorship in the Maghreb (1990-present) .- 14. Theatre and Censorship: the Russian Case.- 15. Commedia dell’Arte: Born out of Censorship? .- 16. Censorship, Performance and Strange Places in Czechoslovakia (1948 – 1989) .- 17. Writing Under Pressure: Václav Havel, the Absurd, and the Politics of Censorship .- 18. Risky Business: Theatre Censorship in Postcolonial Indonesian Theatre .- 19. The ‘rocade’ in Rocado: navigating state censorship and La Francophonie in postcolonial Congolese theatre .- 20. In the Name of the Author: Samuel Beckett, Sarah Kane, and their Disputed Italian Productions .- 21. Dramaturgy of Constraint in Contemporary Iranian Theatre.- 22. The Detour Around Censorship: Private Theatres and Independent Performance Groups in Guangzhou, China .- 23. British Women Playwrights: Censorship and Self-censorship in the Romantic period .- 24. London’s Grand Guignol versus The Lord Chamberlain: The Rise and Fall of a Troublesome Theatre .- 25. “A place where freedom of mind and spirit was possible”: Black Theatre Makers and Censorship in Britain, 1900-1948.- 26.Conversion or Subversion: Homosexuality on the Portuguese Stage in Estado Novo Portugal.- 27.Theatre and Censorship Above and Within: Censorship and Self-Censorship in Israeli Theatre.- 28.Otherness and Censorship in the Theatre of Turkey (1960s-70s).- 29.A Paradigm of Populism: the Return to Censorship in Bolsonaro’s Brazil.- 30.Censoring the Emperor: The Japanese Debut of The Mikado.- 31. “Censorship Made Me”: And Censorship Created Mae West.- 32.“Offending Australia’s Returned Servicemen? Alan Seymour’s The One Day of the Year and Censorship by Rejection.- 33. Moving Censorship: Memory and Reception in Allan McClelland’s Bloomsday in Dublin, 1962.- 34. Soviet Censorship and Self-censorship: the Case of Gunars Priede.- 35.Kallol and the Incarceration of Utpal Dutt: State Repression, Censorship and the Struggle for ‘National’ History.- 36.Delusions of Safeguarding: Homegrown and Islamic State on the UK stage.- 37.Who Cancelled Robert Lepage? The “Noise and Silence” of Cancel Culture.

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Author Information

Anne Etienne lectures in Modern and Contemporary Drama in the School of English and Digital Humanities, University College Cork, Ireland. Her research focuses on theatre censorship, Arnold Wesker and contemporary Irish theatre. She has authored essays on these topics for international journals and collective volumes. Her publications include Theatre Censorship: from Walpole to Wilson (2007), and the co-edited volumes Populating the Stage: Contemporary Irish Theatre (2017), Arnold Wesker: Fragments and Visions (2021), Adult Themes: British Cinema and the X Certificate in the Long 1960s (2023), and Theatre Censorship in Contemporary Europe: Silence and Protest (2024). She is co-editor of the series Palgrave Studies in Cultural Censorship.   Graham Saunders is the Allardyce Nicoll Chair of Drama in the Department of Drama and Theatre Arts at the University of Birmingham, UK. He is author of Love me or Kill me: Sarah Kane and the Theatre of Extremes (2002), About Kane: the Playwright and the Work (2009), Patrick Marber’s Closer (2008), British Theatre Companies 1980-1994 (2015), Elizabethan and Jacobean Reappropriation in Contemporary British Drama: ‘Upstart Crows’ (Palgrave Macmillan, 2017), and Harold Pinter (2023). He is co-editor of Cool Britannia: Political Theatre in the 1990s (2008); Sarah Kane in Context (2010) and Arnold Wesker: Fragments and Visions (2021). He is co-series editor for Modern and Contemporary Dramatists - Stage and Screen and Palgrave Studies in Cultural Censorship.

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