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Journal of American Drama & Theatre

Volume

Issue

37

2

How Can an Artist Respond to Censorship? The Dilemma That Faces Contemporary Creatives in the UK

Patrizia Paolini

By

Published on 

July 1, 2025

In April 2023, my work became the object of censorship—both indirectly and a posteriori. The precipitating incident involved a late middle-aged male performer appearing in a vest, a pair of cowboy boots, and a slightly grubby yet arguably innocuous pair of Y-fronts. The body reveal of such a character had been carefully constructed. It was informed by an aesthetic I share with my ensemble Jesus Paolini Park (JPP), and which makes satirical and critical reference to the biased perception of female versus male and young versus senior bodies.


I am a theatre and live performance practitioner who has been based in the UK since 1997. Since 2016, my practice has been linked to Hoxton Hall, an original music hall in the East End of London. At Hoxton Hall, JPP and I developed Ms. Paolini’s Phantasmagoria Cabaret, a “deconstructed cabaret” and the focus of my doctoral research on “Post-Variety & Cabaret,” a theoretical, self-made term describing what I do: a form between genres. Extracts from that work, including the “Y-fronts,” were chosen by the artist and producer Margot Przymierska for inclusion in a programme designed to animate an evening in April 2023 at the Polish Cultural Institute in London.


The adverse reaction of The Polish Cultural Institute (“a part of Polish diplomatic mission, dedicated to nurturing and promoting cultural ties between the United Kingdom and Poland”) to the material contrasted strongly with Margot’s judgment and with the work’s reception at numerous showings in Hoxton Hall. It was described by the event’s organizers as “obscene.” It was claimed, by the same organizers, that it had triggered a “recurring nightmare.” The sight of a mature male in Y-fronts was labelled as indecent. As a consequence, Margot was banned from the Institute and her fee significantly reduced. 


The ramifications of this night, a detailed account of which appears in Cabaret and Decency: How Contemporary Definitions of Cabaret are Shaped By Censorship have not just landed me in the thick of a continually evolving debate on censorship and propelled me into wider-ranging research on the correlation between contemporary censorship and the perennial “high versus low” cultural divide in the UK,(1)  but have also caused me to reflect on how the experience may resonate globally, more particularly with the readership of JADT, as well as with the wider theatrical community of the U.S.


Philip Fisher’s remark that “excessive behaviour [in the U.S.] is likely to be mirrored by equivalent extremists [in the UK] before too long” prompts the question as to whether the two countries could be mirroring each other, and therefore potentially learning from each other.(2)  As Arjun Appadurai’s concept of “global cultural flows” has taught us, the phenomenon of globalization means that theories and ideas are spreading worldwide, from one place to another, with ease.(3) We are both countries where free expression is supposed to be enshrined in law. As a slew of recent articles in the British press point out, in both countries, censorship is creeping in and disturbing arts and artists, causing them to wonder how, or if, to act.(4)


What, if anything, can the U.S. learn from the UK? Perhaps the relevance and potential usefulness of my own experience for the American artistic community is to be found in the insights that my reflection offers and the ensuing conversations that were held, rather than in a particular strategy or solution that should be immediately adopted by artists and scholars in the U.S. Any reaction to censorship, it could be argued, is particular to the context and may be dependent on a specific funding situation. Can we afford, in other words, to speak out? As Nicholas Serota told the Financial Times, “the role of Arts Council England is to act as a protector of artistic freedom, and if we don’t have that freedom, then we move towards living in a country where liberty of both thought and voice is constrained,”(5) adding that “we see plenty of places – look at the US now – where direct funding can be withdrawn as a result of a change of government.”(6)


The unexpected reaction to what I call “the Y-fronts episode” has led me, both as a researcher and practitioner, to reflect on the current dynamics of censorship in all societies and how: “What we believe about censorship often reveals how we understand society and the self.”(7) In this regard, it would be useful to summarize at the outset the salient aspects of contemporary censorship discourse centered around New Censorship Theory (NCT).


In Reimagining Repression: New Censorship Theory and After, Matthew Bunn offers a critical analysis of NCT. Emerging in the latest decades of the twentieth century, NCT’s central objective has been “to recast censorship from a negative, repressive force, concerned only with prohibiting, silencing, and erasing, to a productive force that creates new forms of discourse, new forms of communication, and new genres of speech.”(8) Bunn argues that in this way the controlling effect of censorship [conceived to prevent offences] has been shifted from state control of production and distribution [of speech], onto self-censorship and its dependence on the “market.”


It is my hope that by raising questions and offering reflections, the conversations that follow with fellow practitioners and professionals will draw attention to the current censorship discourse and its significance to practitioners and the wider sector. The interviewees introduced below were each asked about censorship as part of the process of my questioning about what actually happened on that April evening in 2023.(9)


TESTIMONIES


The interviewees responded identically to two aspects of the subject.(10) Firstly, the word “censorship” itself provoked a whole series of hesitations: “Oh! Umm…”, “Oh, dear!”, “Umm!”, “Well... in which sense?”, “Really?”, “Hemm!” and “What do you mean?” This unanimous reaction to the term suggests censorship is not an appealing subject for discussion. Secondly, none of the interviewees were familiar with NCT. Both these reactions seem to indicate that arts professionals in the UK are reluctant to engage with notions of contemporary censorship. While leaving it to the reader to consider the questions that could follow on from this initial observation, it seems significant to note that, before proceeding with the interviews, I received the distinct impression that censorship was not their favourite subject. 


Interviewees were all asked identical questions. Rather than transcribe the full interview of each interviewee, I report each interviewee’s most distinctive approach to the issue. I have grouped together those who shared the same approach and highlighted similar and contrasting views. 




Benevolent Approach 

Expressed no concerns about censorship. 



John Callaghan

British musician, writer, and performance artist.


PATRIZIA: Have you ever been censored?


JOHN: I don't think my stuff is susceptible to censorship, particularly because…I'm not swearing. I'm not attacking any particular government. I'm just being me.(11)


Kieron Jecchinis

Classically trained English actor. Graduated from Royal Academy of Dramatic Art in 1979. Film: Full Metal Jacket (1987). Theatre: West End. Member of JPP ensemble, played Y-front character. 


PATRIZIA: What do you think about censorship?


KIERON: When I go and see some theatre I just find it so refreshing. You just think. Oh, ****. They can say that! And to be able to say that…it's just so affirming.


PATRIZIA: …And the Y-Fronts? You’ve become a recurring nightmare to some staff.


KIERON: I think there must have been some misunderstanding between the Institute and Margot.(12) 




Sarcastic Approach  

Approached the conversation with sarcasm.


Margot Przymierska

Performer, writer, facilitator and creative producer born in Białystok (Poland) and based in London (UK). Producer of PolBud Cabaret, commissioned by Polish Cultural Institute, leading up to the indirect and a posteriori censorship April 2023.



PATRIZIA: Do you think it makes sense to implement censorship in whatever capacity?


MARGOT: …it makes complete sense to have censorship if you want to own the narrative or perspective on a particular thing. And if you want to silence the artist, maybe all the voices that disagree with your point of view. So it's a very useful tool.


And, less sarcastically,


MARGOT: I think if you want to have censorship, you have to put in place a clear mechanism.


As Margot, was the direct recipient of the Y-fronts a posteriori censorship, our conversation expanded: 


PATRIZIA: What do you think about how the Polish Cultural Institute treated you? 


MARGOT: A real exercise of power and authority…they needed to appear like they're taking the complaints from the audience members seriously and they have to show to them that they have punished the person who's responsible … They told me – “You breached the contract…if I went to you and I've ordered something and you gave me a different product, you wouldn't have a leg to stand on. We would then refer to that contract. Like we didn't order this.” – Yeah, but, I don't make sausages in Tesco.(13) You cannot order something off the shelf because it doesn't exist. I'm making it fresh, fresh performance and it's not as finite as a sausage.(14) 




Reactionary Approach     

Strongly disapprove of censorship.


Claire and Roland Muldoon

Artists, entrepreneurs, partners in work and in life. Core members of CAST (Cartoon Archetypical Slogan Theatre), UK counterculture and alternative comedy pioneers.



PATRIZIA: NCT sees censorship as a positive tool to be used in society, as it facilitates the best way of expressing something without offending anyone… 


CLAIRE (in a gentle yet direct manner): It can hurt…It hurts people who are the right people to hurt. It is important to express what has to be expressed. 


ROLAND: I can't imagine it [NCT] working, really.


Referring to their long career:


PATRIZIA: So, you really were quite troublemakers?


ROLAND and CLAIR (finishing each other’s sentence): Oh yeah, usually yeah. Performing, I mean, what else is there? Otherwise there is no point … that's the function (of performing) otherwise…You know, it turns into Hollywood.(15)




Subtle, Necessary Approach 


The following interviewees are both heads of arts and cultural organizations. 


Stuart Cox

Current director of Hoxton Hall, the music hall in Shoreditch, London, originated in 1838, and which has hosted my work since 2016.


PATRIZIA: Since state censorship had been abolished (in the UK), in 1968, who should decide how to control expression these days?


STUART: You have to do it….Or the audience will let you know…the artist has to be cautious and question very honestly what might be the impact of their work. 


PATRIZIA: How do you approach circumstances related to censorship in your role as chief director of Hoxton Hall?

 

STUART: … that basically is my role, in every aspect. So like you know … Do I pay this person this amount of money? What's the impact of that? Do I take this piece on? What's the impact of that? I'm looking at this piece and I see something that had caused me a worry about whether that is right…I have to really think about the decision around things, and that includes why you're telling a person they can't do that at this stage and just be very…true to who you are and those decisions…And I think I would hope that always when I'm facing those decisions, I try to do it with thought. And consider everyone in that process.


Inspired by the Muldoon’s opposing view, I say:


PATRIZIA: Maybe, rightly or wrongly, I'm sure, it may happen that there may be the need to…or maybe the feeling that it would be right… like we need and want to “break” something. They, the artist wants to do something that…it is a risk because it could…in fact, offend somebody, because it may be important to do so…


STUART: You know, I get what you're saying. But…I still think that you have to kind of talk to everyone. You kind of like involve the artists themselves in this conversation…There has to be, I think…to move on something in the centre…and then make the kind of decision about that … In a positive way…(16) 


Karena Johnson

Former Artistic Director and CEO of Hoxton Hall. Since 2022 Head of Creative Collaboration & Learning at the Barbican.(17)


PATRIZIA: What’s your thought about current censorship? 


KARENA: I think it's a tricky time … the Internet and all that … although we might be in a live performance space, actually we still work within a digital landscape and the digital world allows you to say anything you want uncensored. And so the idea that you can behave as you would digitally in real life is not really … A tenable thing to do.


PATRIZIA: Did you ever have to enforce censorship? 


KARENA: I think no, I've never really had to censor anything. Because, I think the work finds the audience that it speaks to… no one is going to come and pitch me something that’s going to be, like racist or sexist or homophobic, because all the organisations I've ever worked in are very clear about that and my politics have aligned very clearly with those institutions. However, it's only in bigger institutions … It's because of visibility. It has other things to deal with like, you know, like funders, like sponsors, like patrons ... Yeah. And I think that conversation, comes up when you have to deal with the bigger institutions...


PATRIZIA: Who exercises control, censorship these days? Institutions or culture itself?


KARENA: Yeah … big institutions, maybe are controlling or looking after or leading their culture, having different level of responsibility than you do when you've got a fringe venue … Also, I think that there's a very big difference between what an institution and what and artist might think is censorship or not. Is censorship saying you can't do that thing? Maybe, … or … It's not for me. I would say that's just a choice. But for the individual artist … [it] is important … that nobody should ever say no, and that if you're saying no, it's censorship. But I don't think that is actually censorship.(18)  


Within the industry, Cox’s and Johnson’s professional roles differ from the other interviewees (all artists), in that they operate in a realm between artists and institutions. This seems to influence their similar approach to censorship. To counterbalance the Cox-Johnson approach, we’ll look at another professional in a leading role at a cultural organization: Will Gompertz. The former artistic director of the Barbican Cantre and a former BBC arts editor clarifies his position on censorship by identifying “cancel culture as the greatest challenge facing the arts.”(19) In an interview in Prospect magazine, he responds to the question “What is the greatest challenge facing the arts industry today?” by saying:


… it has to be cancel culture. The purpose of the arts is to question, challenge, reflect and enlighten. Great art reveals a truth, and debate and disagreement about the nature of that truth is a function of art. But such is the rallying power of social media, debate is being stifled by self-censorship and fear of disagreeing with the prevailing orthodoxy. Previous generations have fought hard for free speech; so must we.(20)


Gompertz held his position as director of the Barbican Centre, from 2021 to autumn 2023. His appointment and resignation were surrounded by controversy. The beginning of his time at the Barbican, when the Centre was dealing with serious accusations of racism within the organization coincided with the need of a “long journey of cultural change at the Barbican”(21) as indicated by The City.(22) Dex reports: “The Centre’s director of Arts and Learning, former Tate and BBC man Will Gompertz, has been hastily elevated to ‘joint interim managing director’”, which lead to Gompertz’s final appointment as artistic director. Shortly before his departure, the Barbican cancelled Resolve Collective’s exhibition in the wake of “anti-Palestinian censorship.”(23) As reported, collective artist Yto Barrada’s statement, “We cannot take seriously a public institution that does not hold a space for free thinking and debate, however challenging it might feel to some staff, board members, or anxious politicians,”(24) indicates the complexity of the event. In a joint statement with Claire Spencer, Gompertz said: “During the run of their exhibition, Resolve Collective and their collaborators have been subject to a number of unacceptable experiences...…we are taking this situation extremely seriously and are currently working with the broader Barbican team to understand the details of what happened.”(25)


A few months later Will Gompertz left the Barbican Centre for a much less prestigious position. Official declarations on the reasons for his sudden departure are unavailable. Gompertz’s relevance to this observation is his clear position on censorship, as reported by Prospect in 2023, a position not commonly shared or expressed by people of his profile. Coincidently, Will Gompertz, with the aim of making the Barbican a more inclusive and diverse center for art, education and enterprise, created the position of Head of Creative Collaboration & Learning at the Barbican to which the last interviewee, Karena Johnson, was appointed. 


Conclusion


By bringing together the interviewees’ testimonies, this piece has raised several questions. On the one hand, we have The Muldoons encouraging a self-censorship that aims to protect the “trouble making” nature of the material; “otherwise there is no point.” On the other hand, we have Cox insisting on the importance of self-censorship as a way of being in control of the impact of what the practitioner says, in respect of all involved. Consequently, self-censorship could promote or have an adverse effect on what would be expected to be a controlled outcome. Is it possible, then, contra NCT, that what is called self-censorship could promote unwanted reactions? 


As a practitioner, it seems necessary to remark on the noticeable division between the Cox-Johnson approach and that of the other interviewees. The preoccupations and responsibilities of heads of arts and culture organizations seem closely correlated with the person in charge of these organizations. Gompertz’s case is a good example of the complexity of control at that level. The Y-fronts episode has unveiled artists’ inability to predict all possible reactions to their work. Also, applying self-censorship could paralyse the artist’s practice altogether if all possible offences should be considered by the artist. The vivid testimony of the final interviewee would perfectly elucidate my thinking. 




Factual Approach


Ridiculusmus

A multi award-winning theatre company led by David Woods and Jon Haynes that has been producing seriously funny theatre since 1992.


PATRIZIA: What do you think about the Y-fronts episode? And what about censorship currently defined by NCT?  


JON: It makes me think about a walkabout act David and I did in Dublin in the 1990s. I think he’d nicked the idea from somewhere else. We walked through the streets following each other, joined by a rope tied in a noose around each of our necks. It seemed to be going well. Then a woman sidled up to me and said, “I find what you’re doing offensive because my brother committed suicide the other week.” How could you have applied NCT to that? Just not to have done the act, I suppose. One has to go about one’s practice under the assumption that with anything you do there is always going to be someone somewhere who will find what you do offensive (“And not in a good way,” as the saying goes). But then, following on from that, there will always be someone somewhere who finds the watered down, safe and possibly more insipid version of your original (or nicked) idea offensive as well. Which means that in the end you’re frozen and can’t do anything.(26)



References

  1. Patrizia Paolini, “How Contemporary Definitions of Cabaret are Shaped by Censorship,” Comedy Studies 16, no. 1 (2025): 118-133.

  2. Philip Fisher, “Censorship Rears its Ugly Head”, British Theatre Guide, February 17, 2023, accessed June 4, 2025. https://www.britishtheatreguide.info/features/censorship-rears-its-ugly-head-592.

  3. Arjun Appadurai. “Disjuncture and Difference in the Global Cultural Economy”. Theory, Culture & Society 7, no. 2-3 (1990): 296.

  4. Natasha Tripney, “Cancel Cultures: Theatre Censorship Around the World”, The Stage, March 8, 2024, accessed June 3, 2025, https://www.thestage.co.uk/long-reads/cancel-cultures-theatre-censorship-around-the-world; Lyn Gardner, “How Will Artistic Freedom Endure as Political Tides Shift?” The Stage, April 28, 2025, accessed June 3, 2025, https://www.thestage.co.uk/opinion/how-will-artistic-freedom-endure-as-political-tides-shift-arts-council-lyn-gardner;  Kate Maltby, “Artistic Freedom in our Theatres is Being Lost to Fear and Self-Censorship,”’ The Guardian, October 12, 2024 accessed June 3, 2025, https://www.theguardian.com/commentisfree/2024/oct/12/artistic-freedom-in-theatres-lost-to-fear-self-censorship.

  5. Arts Council England is a UK government-funded body. Founded in 1994, it is dedicated to promoting the performing, visual and literary arts in England. 

  6. Nicholas Serota, quoted in Franklin Nelson, “Axing Arts Quangos Risks ‘Liberty of Thought’ Says Nicholas Serota,” Financial Times, April 18, 2025, accessed June 4, 2025, https://www.ft.com/content/4229bcfe-80a4-4a62-b5f8-ec8f11d99976.

  7. Matthew Bunn, “Reimagining Repression: New Censorship Theory and After,” History and Theory 54, no. 1 (2015): 29.

  8. Bunn, “Reimagining Repression: New Censorship Theory and After,” 26.

  9. The interviews were conducted in accordance with the ethical requirements put in place by the University of Kent. 

  10. The interviews included in this essay were conducted with ethical approval through the University of Kent, UK. Each participant provided written consent for their names and interview contributions to be published in this essay.

  11. John Callaghan, interview by Patrizia Paolini, August 27, 2024

  12. Kieron Jecchinis, interview by Patrizia Paolini, December 7, 2023

  13. A renowned UK superstore.

  14. Margot Przymierska, interview by Patrizia Paolini, October 8, 2023. 

  15. Claire and Roland Muldoon, interview by Patrizia Paolini, August 28, 2024.

  16. Stuart Cox, interview by Patrizia Paolini, November 3, 2023.

  17. The Barbican Centre is a performing arts centre in the Barbican Estate of the City of London. It is owned, funded, and managed by the City of London Corporation.

  18. Karena Johnson, interview by Patrizia Paolini, February 2, 2024.

  19. Harriet Sherwood, “Will Gompertz to Become Director of Sir John Soane’s Museum,” Guardian, August 4, 2023, accessed November 20, 2024, https://www.theguardian.com/culture/2023/aug/04/will-gompertz-to-become-director-of-sir-john-soanes-museum.

  20. Prospect Team, “Will Gompertz: Cancel Culture is Stifling the Arts,” Prospect, May 10, 2023, accessed November 19, 2024, https://www.prospectmagazine.co.uk/culture/music/61326/will-gompertz-barbican-cancel-culture-arts.

  21. Robert Dex, “Racism Row at the Barbican - How Did It Start and What Happens Next?,” Evening Standard, November 15, 2021, accessed November 19, 2024, https://www.standard.co.uk/culture/racism-row-barbican-centre-what-happens-next-b966025.html.

  22. The City of London Corporation is the governing body of the Square Mile, dedicated to a vibrant and thriving City. The Barbican Centre is in part of this governing body.

  23. Garreth Harris. 2023. “Barbican Exhibition Cancelled in Wake of 'Anti-Palestinian Censorship' Row,” The Art Magazine, June 23, 2023, accessed November 19, 2024, https://www.theartnewspaper.com/2023/06/22/barbican-exhibition-cancelled-in-wake-of-anti-palestinian-censorship-row.

  24. Lanre Bakare, “Two Artists Withdraw Work from Barbican Show in Row Over Gaza Talk,” Guardian, March 8, 2024, accessed November 19, 2024,  https://www.theguardian.com/culture/2024/mar/08/two-artists-withdraw-work-from-barbican-show-in-row-over-gaza-talk.

  25. Garreth Harris, “Barbican Exhibition Cancelled in Wake of ‘Anti-Palestinian Censorship’ Row,” The Art Magazine, June 23, 2023, accessed November 18, 2024, https://www.theartnewspaper.com/2023/06/22/barbican-exhibition-cancelled-in-wake-of-anti-palestinian-censorship-row.

  26. Ridiculusmus, Jon Haynes, and David Woods, interview by Patrizia Paolini, November 28, 2023. 



Bibliography


Appadurai, Arjun. “Disjuncture and Difference in the Global Cultural Economy”. Theory, Culture & Society 7, no. 2-3 (1990): 295–310.

Bakare, Lanre. “Two Artists Withdraw Work from Barbican Show in Row Over Gaza Talk.” Guardian, 8 March 2024. https://www.theguardian.com/culture/2024/mar/08/two-artists-withdraw-work-from-barbican-show-in-row-over-gaza-talk

Bunn, Matthew. “Reimagining Repression: New Censorship Theory and After.” History and Theory 54, no. 1 (2015): 25-44.

Callaghan, John. “On Contemporary Censorship.” Interview with author, 27 August 2024. 

Cox, Stuart. “On Contemporary Censorship.” Interview with author, 3 November 2023. 

Dex, Robert. “Racism Row at the Barbican - How Did It Start and What Happens Next?’. Evening Standard, 15 November 2021. https://www.standard.co.uk/culture/racism-row-barbican-centre-what-happens-next-b966025.html.

Fisher, Philip. “Censorship Rears its Ugly Head.” British Theatre Guide. 17 February 2023. https://www.britishtheatreguide.info/features/censorship-rears-its-ugly-head-592.

Gardner, Lyn. “How will artistic freedom endure as political tides shift?” The Stage. 28th April 2025. https://www.thestage.co.uk/opinion/how-will-artistic-freedom-endure-as-political-tides-shift-arts-council-lyn-gardner.

Harris, Garreth. “Barbican Exhibition Cancelled in Wake of ‘Anti-Palestinian Censorship’ Row.” The Art Magazine, 23 June 2023. https://www.theartnewspaper.com/2023/06/22/barbican-exhibition-cancelled-in-wake-of-anti-palestinian-censorship-row.

Jecchinis, Kieron. “On Contemporary Censorship.” Interview with author, 7 December 2023.

Johnson, Karena. “On Contemporary Censorship.” Interview with author, 2 February 2024.

Itzin, Catherine. “CAST (Cartoon Archetypical Slogan Theatre).” In Stages in the Revolution, Routledge, 1980

Maltby, Kate. “Artistic freedom in our theatres is being lost to fear and self-censorship”. The Guardian. 12th October 2024. https://www.theguardian.com/commentisfree/2024/oct/12/artistic-freedom-in-theatres-lost-to-fear-self-censorship.  

Muldoon, Claire, and Roland Muldoon. “On Contemporary Censorship.” Interview with author, 28 August 2024.

Nelson, Franklin. “Axing Arts Quangos Risks ‘Liberty of Thought’ Says Nicholas Serota.” Financial Times, 18 April 2025. https://www.ft.com/content/4229bcfe-80a4-4a62-b5f8-ec8f11d99976.

Paolini, Patrizia. “Cabaret and Decency: How Contemporary Definitions of Cabaret are Shaped by Censorship.” Comedy Studies 16 (2024): 118-133. https://www.tandfonline.com/doi/full/10.1080/2040610X.2024.2404298?src=

Prospect Team. “Will Gompertz: Cancel Culture is Stifling the Arts.” Prospect, 10 May 2023. https://www.prospectmagazine.co.uk/culture/music/61326/will-gompertz-barbican-cancel-culture-arts.

Przymierska, Margot. “On Contemporary Censorship.” Interview with author, 8 October 2023.

Ridiculusmus, Jon Haynes, and David Woods. “On Contemporary Censorship.” Interview with author, 28 November 2023.

Sherwood, Harriet. “Will Gompertz to Become Director of Sir John Soane’s Museum.” Guardian, 4 August 2023. https://www.theguardian.com/culture/2023/aug/04/will-gompertz-to-become-director-of-sir-john-soanes-museum.

Tripney, Natasha. “Cancel Cultures: Theatre Censorship Around the World.” The Stage, 8 March 2024. https://www.thestage.co.uk/long-reads/cancel-cultures-theatre-censorship-around-the-world.

About The Author(s)

PATRIZIA PAOLINI (she/her) is a theatre maker and live performance practitioner with over twenty-five years’ experience. Currently, she is working on a practice-based research PhD project, ‘Post Variety & Cabaret,’ at The University of Kent.  Her broad career includes many original productions and collaborations. Since 1999, she has been an associate of Ridiculusmus, the award-winning theatre company that has produced, among other acclaimed works, The Eradication of Schizophrenia in Western Lapland. Since 2016, her deconstructed cabaret, Ms. Paolini’s Phantasmagoria Cabaret, has been regularly programmed at Hoxton Hall, London. Her practice is the invaluable, rich terrain, base of her research which focuses on popular performance, the ‘high - low’ cultural divide, and social class dominance’s dynamics.  

JADT publishes thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas – past and present. Provocative articles provide valuable insight and information on the heritage of American theatre, as well as its continuing contribution to world literature and the performing arts. Founded in 1989 and previously edited by Professors Vera Mowry Roberts, Jane Bowers, and David Savran, this widely acclaimed peer reviewed journal is now edited by Dr. Benjamin Gillespie and Dr. Bess Rowen.

Journal of American Drama and Theatre is a publication of the Martin E. Segal Theatre Center.

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