Control
and Censorship of Drama
Drama has always played a significant role in reflecting
societal norms, challenging conventions, and provoking thought. However,
throughout history, various forms of control and censorship have been imposed
on dramatic works, limiting their freedom of expression. This essay explores
the control and censorship of drama from a literary standpoint, examining
historical contexts and providing notable examples that highlight the ways in
which governments, institutions, and societal forces have sought to exert
control over dramatic narratives.
Censorship in the theater has historically been more
stringent and narrow-minded compared to censorship in other forms of art, such
as literature. Unfortunately, some of the most remarkable examples of Russian
drama faced significant delays in reaching the stage, often spanning several years
or even decades after their initial creation. Control and Censorship of Drama
For instance, Alexander Griboyedov's play "The
Misfortune of Being Clever" was written in 1824 but wasn't performed until
1831, two years after the author's death. Similarly, "Boris Godunov"
made its stage debut in 1870, a staggering 45 years after it was written and 30
years after Pushkin's passing. It took 20 years for "The Affair"
(Delo) and 30 years for "Tarelkin's Death" (Smert' Tarelkina) to
finally be showcased, long after Sukhovo-Kobylin had penned them.
Historical Context
To understand the control and censorship of drama, it is
essential to consider the historical context in which it has occurred. From
ancient Greece to the Renaissance and beyond, societies have grappled with the
influence and power of dramatic works. In ancient Athens, for instance, the
City Dionysia festival provided an avenue for the performance of tragedies and
comedies, but these works were subject to scrutiny by the state. Similarly,
during the Renaissance, the Church held considerable authority over drama,
often intervening to ensure that plays adhered to moral and religious
standards.
Throughout history, governments have utilized drama as a tool
for propaganda, political control, and social engineering. In totalitarian
regimes such as Nazi Germany and Soviet Russia, for example, dramatic works
were strictly controlled to align with state ideologies. Writers like Bertolt
Brecht faced persecution and censorship for their works challenging the regime.
Similarly, during Elizabethan England, playwrights faced censorship by the
state, with the Master of the Revels holding the authority to license and
censor plays. Control and Censorship of Drama
Institutional
Censorship
In addition to state
control, institutions have also exerted significant influence over the content
of dramatic works. The Catholic Church's Index Librorum Prohibitorum, for
instance, included numerous plays considered immoral or heretical. Even in more
recent times, theater companies and producers have been known to exercise
censorship in response to societal pressures. The cancellation of productions
due to protests or controversies surrounding their content is a manifestation
of institutional censorship.
The Index Librorum Prohibitorum, Latin for "Index of
Prohibited Books," was first established in 1559 and remained in use until
1966. Its primary purpose was to identify and ban books deemed heretical,
immoral, or dangerous to Catholic doctrine. The Church aimed to protect the
faithful from erroneous or corrupting ideas, as well as to maintain its
authority as the arbiter of religious and moral truths. The Index played a
central role in enforcing censorship within Catholic societies.
Societal Forces
Societal forces, including public opinion, moral values, and
cultural norms, have also played a pivotal role in shaping the control and
censorship of drama. William Shakespeare's plays, for example, often tested the
boundaries of societal norms, exploring themes such as sexuality, gender, and
politics. His works, like "Othello" and "The Merchant of
Venice," faced criticism and attempts at censorship due to their
provocative content. Similarly, Henrik Ibsen's "A Doll's House"
challenged prevailing gender roles, sparking controversy upon its premiere. Control and Censorship of Drama
Henrik Ibsen's play
Henrik Ibsen's play, A Doll's House, serves as a prime
example of the control and censorship imposed on dramatic works. First
performed in 1879, the play explores gender roles, marriage, and societal
expectations, challenging the prevailing norms of the time. This essay examines
how A Doll's House faced censorship, criticism, and societal backlash,
illustrating the ways in which the play's themes and message challenged the
control exerted by institutions and societal forces.
Due to its controversial content, A Doll's House faced
censorship and alterations in various productions. In some cases, the play's
ending, which depicted Nora leaving her husband and children, was altered to
provide a more palatable conclusion. Censorship, whether enforced by the authorities
or self-imposed by theater companies, sought to diminish the play's radical
impact and align it with societal expectations. Ibsen himself expressed
frustration with the alterations, as they undermined his intended message.
A Doll's House elicited strong societal backlash and
criticism, particularly from those who viewed it as a threat to established
norms and values. Critics accused Ibsen of promoting immorality, undermining
the sanctity of marriage, and challenging traditional gender roles. The play's
portrayal of a woman leaving her family was seen as an affront to the idealized
image of motherhood and domesticity. Such reactions highlight how societal
forces sought to control and censor dramatic works that challenged the status
quo.
Self-Censorship and
Subversion
Under oppressive regimes or within restrictive societies, playwrights
and artists have resorted to self-censorship or subversive techniques to
navigate the limitations imposed on their work. In Soviet Russia, playwrights
like Mikhail Bulgakov employed allegory and symbolism to convey their intended
messages while evading direct censorship. Subversive theater groups and
underground performances have also emerged as a means of challenging
established norms and circumventing official control.
Conclusion
Control and censorship of drama have been recurring themes
throughout history, impacting the creative expression of playwrights and
challenging the freedom of artistic voices. From state control to institutional
censorship and societal pressures, the struggle for artistic autonomy
continues. However, artists and playwrights have also demonstrated resilience,
using subversion and ingenious techniques to convey their messages. The ongoing
battle for creative freedom and the exploration of controversial and
thought-provoking themes in drama remains a vital aspect of challenging
societal norms and fostering progress. Control and Censorship of Drama
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