The Censorship of British Drama 1900-1968 Volume 2
Volume Two 1933-1952
New in paperback with contextualising timeline and revised bibliography
This is the second volume in a new paperback edition of Steve Nicholson’s well-reviewed four-volume analysis of British theatre censorship from 1900-1968, based on previously undocumented material in the Lord Chamberlain's Correspondence Archives in the British Library and the Royal Archives at Windsor. It covers the period from 1933 to 1952, and focuses on theatre censorship during the period before the outbreak of the Second World War, during the war itself, and in the immediate post-war period. The focus is primarily on political and moral censorship. The book documents and analyses the control exercised by the Lord Chamberlain. It also reviews the pressures exerted on him and on the theatre by the government, the monarch, the Church, foreign embassies and by influential public figures and organisations.
This new edition includes a contextualising timeline for those readers who are unfamiliar with the period, a new preface and a revised bibliography.
Introduction: 'The Most Dispensable of All the Fetters'
Section One: 1933-1939
1 'Verboten': The Nazis Onstage
2 'Prudes on the Prowl': The Moral Gaze
3 'The Author Will Probably Deny It...': Naming the Homosexual
4 'These Communist Effusions': Testing Tolerance in Politics and Religion
Section Two: 1939-1945
5 'Everybody Bombs Babies Now': Politics in Wartime
6 'Lubricating the War Machine': The Nude in Wartime
7 'Beastly Practices': Sexual Taboos in Wartime
Section Three: 1945-1952
8 'Two Ways To Get Rid Of The Censor'
9 'This Infernal Business of Sex'
10 'But Perverts Must Go Somewhere in the Evening'
11 'The Crazy but Satisfactory Ethics of the English'
Afterword: 'Congenial Work'
Notes on Archive Referencing and Authors' Names
Nicholson’s volumes are unique in their objective and especially their richness of research material. As such, his Censorship of British Drama represents an unsurpassed source of reference for theatre historians.- Studies in Theatre and Performance
. . . should be welcomed as a long overdue account of the role and function of British theatre censorship during the twentieth century.- Modern Drama
Steve Nicholson is Professor of 20th-Century and Contemporary Theatre, and Director of Drama, in the School of English at the University of Sheffield. He is the series editor for Exeter Performance Studies and the author of British Theatre and the Red Peril: The Portrayal of Communism, 1917-1945, also published by UEP.
Exeter Performance Studies
- Ancient Greek and Contemporary Performance - Collected Essays
- British South Asian Theatres - A Documented History (with accompanying DVD)
- British Theatre And The Red Peril - The Portrayal of Communism 1917-1945
- The Censorship of British Drama 1900-1968 Volume 1 - Volume One 1900-1932
- The Censorship of British Drama 1900-1968 Volume 2 - Volume Two 1933-1952
- The Censorship of British Drama 1900-1968 Volume 3 - Volume Three: The Fifties
- The Censorship of British Drama 1900-1968 Volume 4 - The Sixties
- Critical Essays on British South Asian Theatre
- Eighteenth-Century Brechtians - Theatrical Satire in the Age of Walpole
- Forms of Conflict - Contemporary Wars on the British Stage
- Freedom's Pioneer - John McGrath's Work in Theatre, Film and Television
- From Mimesis to Interculturalism - Readings of Theatrical Theory Before and After ‘Modernism'
- Grand-Guignol - The French Theatre of Horror
- In Comes I - Performance, Memory and Landscape
- John Mcgrath - Plays For England
- London’s Grand Guignol and the Theatre of Horror
- Making Theatre in Northern Ireland - Through and Beyond the Troubles
- Marking Time - Performance, Archaeology and the City
- On Actors And Acting
- Performing Grand-Guignol - Playing the Theatre of Horror
- Singing Simpkin and other Bawdy Jigs - Musical Comedy on the Shakespearean Stage: Scripts, Music and Context
- Theatre Workshop
- Theatres of the Troubles - Theatre, Resistance and Liberation in Ireland
- Victory Over the Sun - The World's First Futurist Opera