アブストラクト
This article purposes to re-examine British theatrical censorship in the 1920s by referring to the censorship of Noel Coward's controversical play, Fallen Angels. The study refutes the theory of a simple opposition between the state and the author and, by situating the censorship of dramatic works within a larger cultural context, discusses the fluidity and complexity of power relations between the censor and the dramatist. Drawing upon archival materials of theatrical censorship, this article examines how negotiations were conducted among those involved in the controversy on the play, and, in doing so, it argues about the complicated situations in which Coward could develop a potential for being subversive.
(Libra vol.1, pp.41-63, 1999)