This is the first part of a two volume analysis of British theatre
censorship from 1900 until 1968, based on previously undocumented
material in the Lord Chamberlain's Correspondence archives. It
covers the period before 1932, when theatre was widely seen as a
crucial medium with the power to shape the future of society,
determining what people believed and how they behaved. It explores
the portrayal of a broad range of topics in relation to censorship,
including the First World war; race and inter-racial relationships;
contemporary and historical international conflicts; horror; sexual
freedom and morality; class; the monarchy; religion.
Where previous interpretations, based on more limited evidence
and topics, have often constructed the Lord Chamberlain's Office
either as an annoying but amusing irrelevance, or as dictatorial in
its unchanging certainties, this study throws completely new light
on the day-to-day functioning of the system and the principles,
policies and detailed practice of theatre censorship. It uncovers
the differing views and the disputes which occurred among and
between the Lord Chamberlain and his Readers and Advisers, and
discusses the extensive pressures exerted on him by bodies such as
the Public Morality Council, the Church, the monarch, government
departments, foreign embassies, newspapers, powerful individuals
and those claiming to represent national or international
opinion.
General
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