Ever since the 1990s, Dutch and Flemish theatre for young audiences (TYA) has gained the reputation of being progressive and daring, with theatre makers tackling taboo topics including – but not limited to – rape, war, terrorism, and child murder. In recent years, however, the climate has been changing, and theatre makers observe that the pressure for (self-)censorship has increased. Manon van de Water (2012) points out that – as opposed to children’s literature – taboos in TYA have received almost no scholarly attention. This article explores how theatre as a form can be used to make what Peter Hunt (1997) called “invisible censorship” visible. Via a performance analysis of the 8+ play Hendrik IV – ongeschikt voor kinderen (“Hendrik IV – not suited for children”) I show how, in theatre, the copresence of audience and makers creates the possibility to put the spotlight on such invisible censoring processes and to give children a voice in censorship decisions that are usually taken for them. In this metatheatrical play a woman from The Bureau interrupts the actors during the performance, explaining that she was sent to check whether the work that is being performed is suited for eight-year-olds. Scene by scene, the actors negotiate and discuss with the representative whether – and if so, how – they are allowed to perform the next scene, and they regularly call on the children to voice their opinion. Throughout the play director Sanne Nouws searches for ways to address taboos like nudity, inappropriate language, and sex, without becoming taboo. After all, in order to be able to perform the work in the Netherlands, she has to stay within the limits of what stakeholders of TYA deem acceptable. I therefore argue that even though the play successfully questions the need for censorship, it simultaneously seems to submit to it by engaging in self-censorship.
Mahlu Mertens (Fri,) studied this question.
Synapse has enriched 5 closely related papers on similar clinical questions. Consider them for comparative context: