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This is an old revision of this page, as edited by Herostratus (talk | contribs) at 04:26, 28 May 2024 (→History: Sentence did not quite parse; checked source and this is what is meant. We try to avoid scare quotes... "legitimate" means so-called legitimate, and if they weren't really legitimate we should say that... altho legitimate theatre is a real thing nowadays, I have to assume from context legal is meant. And they really WERE legal I guess. Could swap in legal for legitimate maybe. Source uses the scare points but we are required to use source for data but not exactly how it written.). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

The Lord Chamberlain's plays are a collection of manuscripts held by the British Library comprising scripts of all new plays in Britain that needed to be approved for performance by the lord chamberlain, a senior official of the British royal household, between 1824 and 1968. This was a requirement of both the Licensing Act 1737 and the Theatres Act 1843, though his office was not legally entititled to retain the texts until 1912.

The collection represents an extensive and unusual research resource curated through censorship of the theatrical medium and also includes letters and administrative documents that provide an insight to the censorship process.

History

The Master of the Revels had overseen theatrical performance since 1545 with the Lord Chamberlain becoming involved in censorship after the Stuart Restoration in 1660. In 1737, responding to satirical performances critical of his government, Robert Walpole introduced statutory censorship through the Licensing Act of 1737 which appointed the Lord Chamberlain as the official theatrical censor. The Act immediately closed all but two legitimate theatres in London, Covent Garden and Drury Lane and gave the Lord Chamberlain the power to prevent any new play from being performed for any reason.

The Theatres Act 1843, also known as the Theatres Regulation Bill, replaced the previous act and implemented proposals made by a select committee of the House of Commons in 1832. Under the new act, the Lord Chamberlain retained the role of censor albeit with slightly restricted powers to only prohibit the performance of plays that were likely 'to do violence to the sentiment of religious reverence', to be indecent, or 'to be calculated to conduce to crime or vice'. On these matters the Lord Chamberlain's office would occasionally consult the Archbishop of Canterbury.

Manuscripts were returned to the Lord Chamberlain's Department from the Public Record Office in 1923 with plays dated between 1824 and 1850 later deposited at the British Library. In 1988 papers relating to the censors' examination were also deposited at the British Library. The earliest plays submitted in 1824 had been sold in 1825 and were passed to the Huntington Library in the United States in 1917.

The Theatres Act 1968 finally abolished theatrical censorship in Britain.

A unique historical archive

Through anti-theatrical prejudice and the act of censorship the Lord Chamberlain's plays have left an extensive historical archive of material that may otherwise have been lost. As such, the archive provides a valuable research resource that highlights contemporary social mores and attitudes to race or homosexuality, and the conviction that performance can have a contagious effect.

The comments made about A Patriot For Me by John Osborne submitted for licensing in 1964 reveal contemporary homophopia and the concern that its depiction could have an infectious effect noting that 'presenting homosexuals in their most attractive guise -  dressed as pretty women, will to some degree cause the congregation of homosexuals and provide the means whereby the vice may be acquired'.

The archive also curates early Black theatre in Britain including the only known manuscript copy of At What a Price by Una Marson which explores themes of women’s desire, interracial relations and sexual harassment in the workplace. Now relatively obscure, Marson had moved from Jamaica to London in the 1930s and was well known at the time as a BBC broadcaster, poet, playwright and anti-racist activist.

References

1. ^ "British Library". APAC. Retrieved 2024-04-27.
2. ^ Dossett, Kate (2023-01-17). "How British theatre censorship laws have inadvertently created a rich archive of Black history". The Conversation. Retrieved 2024-04-27.
3. ^ "The Lord Chamberlain's Department: Plays". The National Archives. Retrieved 27 April 2024.
4. ^ Johnson, Kathryn (1 October 2016). "The Lord Chamberlain regrets..." British Library English and Drama blog. Retrieved 27 April 2024.
5. ^ Thomas, David; Carlton, David; Etienne, Anne (2007). Theatre censorship: from Walpole to Wilson. Oxford ; New York: Oxford University Press. ISBN 978-0-19-926028-7. OCLC 154707946.
6. "Theatres Regulation Bill (Hansard)". api.parliament.uk. Retrieved 2024-04-27.
7. Shellard, Dominic; Nicholson, Steve; Handley, Miriam (2004). The Lord Chamberlain regrets: a history of British theatre censorship (1. publ ed.). London: The British Library. ISBN 978-0-7123-4865-2.
8. Webster, Peter (2012). "The Archbishop of Canterbury, the Lord Chamberlain and the Censorship of the Theatre, 1909–49". Studies in Church History. 48: 437–448. doi:10.1017/S0424208400001492. ISSN 0424-2084.
9. ^ Freshwater, Helen (2002). "Anti-theatrical Prejudice and the Persistence of Performance: The Lord Chamberlain's Plays and Correspondence Archive". Performance Research. 7 (4): 50–58. doi:10.1080/13528165.2002.10871891. ISSN 1352-8165.
10. Daly, Dermot (2024-03-25). "At What A Price: The Benefits of the Unearthing of Una Marson's Unpublished Play". Teaching Artist Journal: 1–14. doi:10.1080/15411796.2024.2318497. ISSN 1541-1796.

External links

• Archive at the British Library (link still broken after British Library cyber attack.)

• Theatre in England
• Censored plays
• Theatre of the United Kingdom
• Censorship in the United Kingdom