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Theatre censorship in Britain = sile...

Freshwater, Helen.

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Theatre censorship in Britain = silencing, censure and suppression /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Theatre censorship in Britain/ Helen Freshwater.
Reminder of title:	silencing, censure and suppression /
Author:	Freshwater, Helen.
Published:	Basingstoke ;Palgrave Macmillan, : 2009.,
Description:	x, 212 p. :ill. ;23 cm.
[NT 15003449]:	London's Grand Guignol : sex, violence and the negotiation of the limit -- The representationof reproduction : Marie Stopes and the femalebody -- Suppressed desire : dramatic inscriptions of lesbianism -- Soldiers : playing with history -- Mary Whitehouse, The Romans in Britain,and 'The rapeof our senses' -- Section 28 : contagion, control and protest -- Capital constraint : the right to choose? -- Competing fundamentalisms : Behzti, freedom of speech, sacrilege and silencing.
Subject:	Theater - Censorship - Great Britain. -
Online resource:	http://link.springer.com/10.1057/9780230237018access to fulltext (Palgrave)
ISBN:	0230237010

Theatre censorship in Britain = silencing, censure and suppression /
Freshwater, Helen.

Theatre censorship in Britainsilencing, censure and suppression /[electronic resource] :Helen Freshwater. - Basingstoke ;Palgrave Macmillan,2009. - x, 212 p. :ill. ;23 cm.

Includes bibliographical references (p. 196-206) and index.

London's Grand Guignol : sex, violence and the negotiation of the limit -- The representationof reproduction : Marie Stopes and the femalebody -- Suppressed desire : dramatic inscriptions of lesbianism -- Soldiers : playing with history -- Mary Whitehouse, The Romans in Britain,and 'The rapeof our senses' -- Section 28 : contagion, control and protest -- Capital constraint : the right to choose? -- Competing fundamentalisms : Behzti, freedom of speech, sacrilege and silencing.

Why do people censor? How do we strike a balance between freedom of speech and respect for the sacred? Do we know what we mean by censorship? Theatre Censorship in Britain brings these questions to its exploration of the wide variety of censorship that has shaped theatrical performance in twentieth- and twenty-first century Britain. Its eight case studies assess the interventions of the Lord Chamberlain - who licensed every performance until 1968 - but they also analyse the powers of censure wielded by the media and public interest groups; the self-censorshipof playwrights; and the constraints placed upon producers by public funding bodies and corporate sponsors. They examine the unpredictable outcomes of censorship, deep-seated anxieties about the performative influence of the stage, and the complex questions raised by acts of theatrical censorship and silencing in the context ofcontemporary debates overcivil liberties and freedom of speech.

Electronic reproduction.
Basingstoke, England :
Palgrave Macmillan,
2009.

Mode of access:World Wide Web.

ISBN: 0230237010Subjects--Topical Terms:

1099044
Theater
--Censorship--Great Britain.Index Terms--Genre/Form:

542853
Electronic books.

LC Class. No.: PN2044.G7 / F74 2009

Dewey Class. No.: 792.0941

Theatre censorship in Britain = silencing, censure and suppression /
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245 1 0 $a Theatre censorship in Britain $h [electronic resource] : $b silencing, censure and suppression / $c Helen Freshwater.
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300 $a x, 212 p. : $b ill. ; $c 23 cm.
504 $a Includes bibliographical references (p. 196-206) and index.
505 0 $a London's Grand Guignol : sex, violence and the negotiation of the limit -- The representationof reproduction : Marie Stopes and the femalebody -- Suppressed desire : dramatic inscriptions of lesbianism -- Soldiers : playing with history -- Mary Whitehouse, The Romans in Britain,and 'The rapeof our senses' -- Section 28 : contagion, control and protest -- Capital constraint : the right to choose? -- Competing fundamentalisms : Behzti, freedom of speech, sacrilege and silencing.
520 $a Why do people censor? How do we strike a balance between freedom of speech and respect for the sacred? Do we know what we mean by censorship? Theatre Censorship in Britain brings these questions to its exploration of the wide variety of censorship that has shaped theatrical performance in twentieth- and twenty-first century Britain. Its eight case studies assess the interventions of the Lord Chamberlain - who licensed every performance until 1968 - but they also analyse the powers of censure wielded by the media and public interest groups; the self-censorshipof playwrights; and the constraints placed upon producers by public funding bodies and corporate sponsors. They examine the unpredictable outcomes of censorship, deep-seated anxieties about the performative influence of the stage, and the complex questions raised by acts of theatrical censorship and silencing in the context ofcontemporary debates overcivil liberties and freedom of speech.
533 $a Electronic reproduction. $b Basingstoke, England : $c Palgrave Macmillan, $d 2009. $n Mode of access:World Wide Web. $n System requirements: Web browser. $n Title from title screen (viewed on Oct. 6, 2009). $n Access may berestricted to users at subscribing institutions.
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