4 Apr 2016 | Magazine, mobile, Volume 45.01 Spring 2016
Spring 2016 cover
Index on Censorship magazine editor Rachael Jolley introduces our Shakespeare special issue, which, as the 400th anniversary of his death approaches, explores how his plays have been used to circumvent censorship and tackle difficult issues around the world, from Bollywood adaptions to Othello in apartheid-era South Africa and a ground-breaking recent performance of Romeo and Juliet between Kosovan and Serbian theatres
Theatre, in whatever form it takes, tells us something about society. Sometimes the stories are uncomfortable, but they need to be explored.
Telling stories that challenge societal realities requires performers to negotiate their way around obstacles. In authoritarian countries performing works of “established” or “historic” playwrights can give actors the chance to tackle significant themes that would otherwise never be allowed.
Poet Robert Frost said writing free verse was like playing tennis with the net down. But where nets are still up, performances of Chekhov, Shakespeare, and Cicero may squeeze over a few shots, where a new and unknown writer’s work would face far more rigorous opposition from the authorities. On the occasion of the 400th anniversary of Shakespeare’s death, in this issue we take a look at the words of the son of Stratford and why they are still performed around the world.
One of theatre’s challenges is that it must continue to make sense to all audiences, the young, the old and everyone in between. Shakespeare’s plays can be ballsy, straightforward and about the ordinary. This is no doubt why his words have had influence for so long, while other playwrights have been forgotten.
This appeal, and relevance, remains a challenge for writers and directors. After university, I worked for a few months in the legendary Hull Truck theatre in the north-east of England, led by artistic director and playwright John Godber. What Godber did in a working-class city where few people would think, “Hey, let’s go see a play tonight”, was to write and stage plays that sounded like they were about normal people and normal things.
The most famous, Bouncers, is about the people who do door security in nightclubs. A tale of ordinary life, it was funny, and lots of people came to see it in the little theatre in the untarted-up bit of Hull, around the corner from where millions of milk floats loaded up. And people who didn’t normally go to the theatre thought it was alright for them and told their families and their friends it was a laugh, and so more and more of them came to see more Godber plays. I re-read Bouncers a month ago, and I realised (I guess, I had forgotten), it was more than just funny. There’s real stuff in there about how people live and what they dream and how they find a compromise with life, and what needs to change. Hard stuff. Important stuff. Social comment. Hidden in there among the jokes.
That’s how theatre informs us of lives beyond our own. And that’s why, sometimes, governments fear it. And that’s why in another place, and under another type of government, a play like Bouncers might slip its social messages by those hard-line censors who might not think it’s about anything but some fat bald guys who work on the door at a dodgy nightclub having a chat.
But the other role of stories, plays and art is that they also have the power to goad, protest and say stuff that normally can’t be said. Sometimes stories make what had been outrageous or out-of-the-ordinary feel more acceptable. Sometimes fiction can go places where newspapers can’t, but still deal with the real.
Arthur Miller’s 1952 play The Crucible used the Salem Witch Trials to take a poke at the power of accusation and public panic happening in McCarthyite trials, with their accusations of “communism” which left thousands of people blacklisted and unemployed. People from postmen to Hollywood producers were called to give evidence to the House of Un-American Activities Committee, which aimed to “out” those with left wing or pro-Communist views as dangerous. Despite the horrifically charged climate of the “reds under the bed” era, which meant former stars such as Charlie Chaplin and Orson Welles were forced into exile, Miller was still able to get his play produced. It remains a classic, still relevant after all these years.
The similarities between Salem and the McCarthy trials were obvious to those that thought about it. But sometimes those who are appointed as censors are not the thinking types. So ideas slip by them. And that can be useful.
Shakespeare, of course, has plenty of controversy, inspiration and power within his plays. It’s just less obvious to those who aren’t paying attention. There’s nothing mousy and out-of-date about the speech of roaring rhetoric of Henry V to his rag-taggle followers, to raise spirits and to go forth against a much larger army: “We few, we happy few, we band of brothers, for he today that sheds his blood with me shall be my brother.”
Henry V’s speech could still be used to rally the troops. They still feel pointed, and relevant. Yet because Shakespeare is Shakespeare, his words and ideas escape the red pen of the brutal censor more than others do. “Centuries out of date”, the censors and government red-penners must think. “Can’t do any harm.”
So in some countries, Zimbabwe among them, Shakespeare is used to smuggle ideas of protest past those who veto that kind of thing. Playwright Elizabeth Zaza Muchemwa says in her country, where there are so many restrictions on theatre companies, Shakespeare appears to slip through the net, raising storylines of senility of a king (King Lear) and of overthrowing of a leader (Julius Caesar), which feel important to Zimbabwean citizens dealing with the long last days of an elderly ruler. Shakespeare’s writing continues to inspire, she says, in her piece.
But the badge of Shakespeare doesn’t always mean productions will escape the long reach of the law. In 1981, a Turkish production of A Midsummer Night’s Dream came to the stage as a military government stepped up its power. As Index’s Turkey editor Kaya Genç outlines in the magazine any public event, newspaper article, poem or artistic production carrying even the slightest trace of dissent against the military authority was certain to be punished. This production was felt to have highlighted the relationship between the elite and the rest (the rude mechanicals) and how status was used for power. Eight members of the cast ended up shaven-headed in prison in the next few months. The play did not squeeze by. It was noticed.
Leading Turkish theatre director Kemal Aydoğan, who produced the latest version of the play in Turkey, tells Index magazine that the Dream has a strong relevance to troubles in his nation today. He sees a parallel between the struggle between desire and the law, and the dream of the forest, a place where desire and equality dominates.
Don’t miss another gem in the latest magazine, Jan Fox’s long-form essay on the love/hate relationship the USA has, and has had, with Shakespeare (page 12). The Puritan founders felt all theatre was beyond the pale, and looked frowningly on its ribaldry. So this is a nation with a core of censorship at odds with its commitment to its First Amendment freedom of expression. LA-based Fox covers why Shakespeare still upsets parents because of its drama around everything from teenage suicide to under-age sex. “Shakespeare is telling us about our secret self and that’s what people are afraid of,” Gail Kern Paster, editor of the US-based journal Shakespeare Quarterly tells Fox.
While plays by established writers can smuggle through dissent and protest in countries with strict reins of performance exist, as nations move towards greater democracy then the public must expect and demand far more provocative, outrageous and openly challenging material from its theatre as well as welcoming the established gems. We should all look forward to the signs of those times.
Order your full-colour print copy of our Shakespeare magazine special here, or take out a digital subscription from anywhere in the world via Exact Editions (just £18* for the year). Each magazine sale helps Index on Censorship fight for free expression worldwide.
*Will be charged at local exchange rate outside the UK.
Magazines are also on sale in bookshops, including at the BFI and MagCulture in London as well as on Amazon and iTunes. MagCulture will ship to anywhere in the world.
Related:
Award-winning cartoonist discusses his design of the latest Index on Censorship magazine cover
Table of contents
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24 Mar 2016 | Magazine, mobile, Volume 45.01 Spring 2016
[vc_row][vc_column][vc_custom_heading text=”This year brings the 400th anniversary of William Shakespeare’s death and Index on Censorship is marking it with a special issue of our award-winning magazine, looking at how his plays have been used around the world to sneak past censors or take on the authorities – often without them realising.”][vc_row_inner][vc_column_inner width=”1/2″][vc_column_text]
Our special report explores how different countries use different plays to tackle difficult themes. Hungarian author György Spiró writes about how Richard III was used to taunt eastern European dictators during the 1980s. Dame Janet Suzman remembers how staging Othello with a black lead during apartheid in South Africa caused people to walk out of the theatre.
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Kaya Genç tells of a 1981 production of A Midsummer’s Night Dream in Turkey that landed most of the cast in jail. And Brazilian director Roberto Alvim recounts his recent staging of Julius Caesar, which was inspired by the country’s current political tumult. The issue also includes contributions from Simon Callow, Tom Holland, Preti Taneja and Kathleen E McLuskie. Plus we explore Shakespeare’s ability to provoke and protest in India, Zimbabwe and the USA. Currently Shakespeare is very much in favour in China and our contributing editor Jemimah Steinfeld explores why.
Shakespeare aside, we have Hollywood screenwriter John McNamara on why his film on blacklisted screenwriter Dalton Trumbo nearly didn’t make it to the big screen. There are interviews with US academic Steven Salaita and Syrian playwright Liwaa Yazji. We look at how one man from New Zealand has been hacking North Korea for years. And we explore Index’s archives on Argentina’s dictatorship, 40 years after the coup, with interviews from former prisoners and descendants of the disappeared.
The issue also includes new fiction from Akram Aylisli, one of Azerbaijan’s leading, and persecuted, writers. Plus lyrics from Egyptian musician Ramy Essam, famed for his performances in the Tahrir Square revolution, and Basque protest singer Fermin Muguruza. And there are illustrations and cartoons by Martin Rowson, Ben Jennings, Eva Bee and Brian John Spencer.
Order your copy here, or take out a digital subscription via Exact Editions (just £18 for the year, with a free trial). Copies are also available in excellent bookshops including at the BFI and Serpentine Gallery (London), News from Nowhere (Liverpool), Home (Manchester) and on Amazon. Each magazine sale helps Index on Censorship fight for free expression worldwide.
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”SPECIAL REPORT: STAGING SHAKESPEREAN DISSENT” css=”.vc_custom_1483446641352{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-top: 15px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]
Plays that protest, provoke and slip by the censors
Rising star – Jemimah Steinfeld on how China has embraced Shakespeare, with performances spanning from brash pro-government productions to a Tibetan Hamlet
When the show doesn’t go on – Jan Fox reports on why school and community theatre productions in the US are under increasing pressure to curb “controversial” themes
The Bard meets Bollywood – Suhrith Pathasarathy looks at how India’s films use Shakespeare to tackle controversy
Lifting the curtain on Zimbabwe – While Shakespeare’s tales of power play and ageing rulers get the go-ahead, local playwrights struggle to be heard, says playwright Elizabeth Zaza Muchemwa
Lend me your ears – Claire Rigby interviews leading Brazilian director Roberto Alvim about tackling his country’s current political turmoil through Julius Caesar
The play’s the thing – Kathleen E McLuskie on how the Bard kept out of trouble with the censors of his day, despite some close calls
Morals made to measure – Tom Holland suggests that Measure for Measure could be reworked for our times
Stripsearch – Martin Rowson’s cartoon on how the history plays would be staged in the Pious People’s Hereditary Democractic Republic of Kryxygistan
The writer of our discontent – György Spiró remembers when a Hungarian staging of Richard III became a way to take on eastern Europe’s dictators
Star-crossed actors – Preti Taneja visits a dual production of Romeo and Juliet staged by theatres in Kosovo and Serbia
When the Dream upset the regime – Kaya Genç on the enduring legacy of a subversive 1981 performance of A Midsummer Night’s Dream in Turkey
Say no moor – Dame Janet Suzman tells Natasha Joseph why South Africa’s apartheid-era censors wouldn’t dare touch Othello
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”IN FOCUS” css=”.vc_custom_1481731813613{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-top: 15px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]
Theatre of war – Charlotte Bailey interviews Syrian playwright Liwaa Yazji
Beyond belief – Ryan McChrystal looks at whether Ireland’s new government will finally phase out the country’s blasphemy law
Exposing history’s faultlines – Vicky Baker explores the Index archives for stories of Argentina’s dictatorship 40 years on, and talks to those who were affected
Rainbow warriors – Duncan Tucker reports on the attacks and killings of LGBT activists in Honduras
Hack job – Sybil Jones interviews Frank Feinstein, who monitors the North Korean propaganda machine
“They worried I’m dangerous. I’m absolutely harmless” – Nan Levinson speaks to US academic Steven Salaita who lost his job after posting controversial tweets
Tools and tricks for truthseekers – Alastair Reid and Peter Sands on why people need to learn verification techniques to combat hoaxes and misinformation on social media
Your television is watching you – Jason DaPonte explains how information stored by internet-connected home devices could be used against us
Tackling Trumbo – Hollywood screenwriter John McNamara on how his story about blacklisted writer Dalton Trumbo almost didn’t make it to screens
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”CULTURE” css=”.vc_custom_1481731777861{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-top: 15px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]
Know your enemy – John Angliss introduces his translation of a new short story by one of Azerbaijan’s leading, persecuted writers, Akram Aylisli
Borderless bard – Josie Timms interviews poet Edin Suljic who fled war in Yugoslavia and found inspiration in Shakespeare
Singing for Tahrir – Musician Ramy Essam who roused crowds during the Egyptian revolution shares his lyrics and future plans
Notes of discord – Rachael Jolley speaks to the Basque singer Fermin Muguruza about having his concerts banned in Madrid
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”COLUMNS” css=”.vc_custom_1481732124093{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-top: 15px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]
Global view – Index on Censorship CEO Jodie Ginsberg debunks the argument that powerful voices should be silenced to promote the free speech of others
Index around the world – Josie Timms runs through the latest news on Index on Censorship’s global work, including a Magna Carta-inspired youth project
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”END NOTE” css=”.vc_custom_1481880278935{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-top: 15px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]
T-shirted turmoil – Vicky Baker looks at the power of the slogan T-shirt and how one can land you in trouble with the law
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”SUBSCRIBE” css=”.vc_custom_1481736449684{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]Index on Censorship magazine was started in 1972 and remains the only global magazine dedicated to free expression. Past contributors include Samuel Beckett, Gabriel García Marquéz, Nadine Gordimer, Arthur Miller, Salman Rushdie, Margaret Atwood, and many more.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″][vc_single_image image=”76572″ img_size=”full”][/vc_column_inner][vc_column_inner width=”1/2″][vc_column_text]In print or online. Order a print edition here or take out a digital subscription via Exact Editions.
Copies are also available at the BFI, the Serpentine Gallery, MagCulture, (London), News from Nowhere (Liverpool), Home (Manchester), Calton Books (Glasgow) and on Amazon. Each magazine sale helps Index on Censorship continue its fight for free expression worldwide.
SUBSCRIBE NOW[/vc_column_text][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row]
7 Feb 2016 | Magazine, Magazine Editions, Volume 45.01 Spring 2016
[vc_row disable_element=”yes” css=”.vc_custom_1495007243457{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-top: 15px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column css=”.vc_custom_1474781640064{margin: 0px !important;padding: 0px !important;}”][vc_column_text css=”.vc_custom_1477669802842{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;}”]CONTRIBUTORS[/vc_column_text][/vc_column][/vc_row][vc_row disable_element=”yes” css=”.vc_custom_1495007251056{margin-top: 0px !important;padding-top: 0px !important;}”][vc_column width=”1/3″ css=”.vc_custom_1474781919494{padding-top: 0px !important;padding-bottom: 0px !important;}”][staff name=”Karim Miské” title=”Novelist” color=”#ee3424″ profile_image=”89017″]Karim Miské is a documentary maker and novelist who lives in Paris. His debut novel is Arab Jazz, which won Grand Prix de Littérature Policière in 2015, a prestigious award for crime fiction in French, and the Prix du Goéland Masqué. He previously directed a three-part historical series for Al-Jazeera entitled Muslims of France. He tweets @karimmiske[/staff][/vc_column][vc_column width=”1/3″ css=”.vc_custom_1474781952845{padding-top: 0px !important;padding-bottom: 0px !important;}”][staff name=”Roger Law” title=”Caricaturist ” color=”#ee3424″ profile_image=”89217″]Roger Law is a caricaturist from the UK, who is most famous for creating the hit TV show Spitting Image, which ran from 1984 until 1996. His work has also appeared in The New York Times, The Observer, The Sunday Times and Der Spiegel. Photo credit: Steve Pyke[/staff][/vc_column][vc_column width=”1/3″ css=”.vc_custom_1474781958364{padding-top: 0px !important;padding-bottom: 0px !important;}”][staff name=”Canan Coşkun” title=”Journalist” color=”#ee3424″ profile_image=”89018″]Canan Coşkun is a legal reporter at Cumhuriyet, one of the main national newspapers in Turkey, which has been repeatedly raided by police and attacked by opponents. She currently faces more than 23 years in prison, charged with defaming Turkishness, the Republic of Turkey and the state’s bodies and institutions in her articles.[/staff][/vc_column][/vc_row][vc_row equal_height=”yes” content_placement=”top” css=”.vc_custom_1474815243644{margin-top: 30px !important;margin-right: 0px !important;margin-bottom: 30px !important;margin-left: 0px !important;}”][vc_column width=”1/2″ css=”.vc_custom_1474619182234{background-color: #455560 !important;}”][vc_column_text el_class=”text_white”]Editorial
Theatre, in whatever form it takes, tells us something about society. Sometimes the stories are uncomfortable, but they need to be explored. Telling stories that challenge societal realities requires performers to negotiate their way around obstacles. In authoritarian countries performing works of “established” or “historic” playwrights can give actors the chance to tackle significant themes that would otherwise never be allowed.
4 April 2016
[/vc_column_text][/vc_column][vc_column width=”1/4″ css=”.vc_custom_1474720631074{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;background-color: #78858d !important;}” el_class=”image-content-grid”][vc_row_inner css=”.vc_custom_1495007422764{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 0px !important;border-left-width: 0px !important;padding-top: 65px !important;padding-right: 0px !important;padding-bottom: 65px !important;padding-left: 0px !important;background-image: url(https://www.indexoncensorship.org/wp-content/uploads/2017/03/volume-45-01-spring-2016.jpg?id=86201) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column_inner css=”.vc_custom_1474716958003{margin: 0px !important;border-width: 0px !important;padding: 0px !important;}”][/vc_column_inner][/vc_row_inner][vc_column_text css=”.vc_custom_1495007400316{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 20px !important;padding-right: 20px !important;padding-bottom: 20px !important;padding-left: 20px !important;background-color: #78858d !important;}” el_class=”text_white”]Contents
A look at what’s inside the Spring 2016 issue[/vc_column_text][/vc_column][vc_column width=”1/4″ css=”.vc_custom_1474720637924{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;background-color: #78858d !important;}” el_class=”image-content-grid”][vc_row_inner css=”.vc_custom_1495007750642{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 0px !important;border-left-width: 0px !important;padding-top: 65px !important;padding-right: 0px !important;padding-bottom: 65px !important;padding-left: 0px !important;background-image: url(https://www.indexoncensorship.org/wp-content/uploads/2016/10/Simon-Callow.jpg?id=80374) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column_inner css=”.vc_custom_1474716958003{margin: 0px !important;border-width: 0px !important;padding: 0px !important;}”][/vc_column_inner][/vc_row_inner][vc_column_text css=”.vc_custom_1495008454118{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 20px !important;padding-right: 20px !important;padding-bottom: 20px !important;padding-left: 20px !important;background-color: #78858d !important;}” el_class=”text_white”]No stranger to censorship
Actor and writer Simon Callow charts how Shakespeare’s plays have amused monarchs and dictators but also prompted their anger.[/vc_column_text][/vc_column][/vc_row][vc_row equal_height=”yes” css=”.vc_custom_1491994247427{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;}”][vc_column width=”1/3″ css=”.vc_custom_1493814833226{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 0px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;background-color: #78858d !important;}”][vc_row_inner css=”.vc_custom_1495008127527{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 0px !important;border-left-width: 0px !important;padding-top: 65px !important;padding-right: 0px !important;padding-bottom: 65px !important;padding-left: 0px !important;background-image: url(https://www.indexoncensorship.org/wp-content/uploads/2016/04/Edin-Suljic-e1460978947616.jpg?id=74983) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column_inner 0=””][/vc_column_inner][/vc_row_inner][vc_column_text css=”.vc_custom_1495007971573{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 20px !important;padding-right: 20px !important;padding-bottom: 20px !important;padding-left: 20px !important;background-color: #78858d !important;}” el_class=”text_white”]Borderless Bard
After visiting his homeland, former Yugoslavia, last summer Edin Suljic was inspired to write his latest poem My Mate Shakespeare. The poem, which recasts Shakespeare as a bingo addict and brandy lover who is struggling in a war zone, is featured in the spring issue of Index on Censorship magazine.
18 April 2016[/vc_column_text][/vc_column][vc_column width=”1/3″ css=”.vc_custom_1493815095611{padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;background-color: #78858d !important;}” el_class=”image-content-grid”][vc_row_inner css=”.vc_custom_1495008156845{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 0px !important;border-left-width: 0px !important;padding-top: 65px !important;padding-right: 0px !important;padding-bottom: 65px !important;padding-left: 0px !important;background-image: url(https://www.indexoncensorship.org/wp-content/uploads/2017/03/Arcoiris-Honduras-LGBT.jpg?id=88686) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column_inner 0=””][/vc_column_inner][/vc_row_inner][vc_column_text css=”.vc_custom_1495008075447{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 20px !important;padding-right: 20px !important;padding-bottom: 20px !important;padding-left: 20px !important;background-color: #78858d !important;}” el_class=”text_white”]Homophobia in Honduras: growing attacks on LGBT activists
Gay activists in Honduras are facing torture, prison and assassination. In this report from the latest Index on Censorship magazine, Duncan Tucker reports on the largely uninvestigated killings that are slipping under the radar of the rest of the world
20 April 2016[/vc_column_text][/vc_column][vc_column width=”1/3″ css=”.vc_custom_1493815155369{padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;background-color: #78858d !important;}” el_class=”image-content-grid”][vc_row_inner css=”.vc_custom_1495008691936{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 0px !important;border-left-width: 0px !important;padding-top: 65px !important;padding-right: 0px !important;padding-bottom: 65px !important;padding-left: 0px !important;background-image: url(https://www.indexoncensorship.org/wp-content/uploads/2016/03/Turkeyimageforweb.jpg?id=74398) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column_inner 0=””][/vc_column_inner][/vc_row_inner][vc_column_text css=”.vc_custom_1495008656727{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 20px !important;padding-right: 20px !important;padding-bottom: 20px !important;padding-left: 20px !important;background-color: #78858d !important;}” el_class=”text_white”]Shakespeare vs. power
From Turkey and Brazil today, to Nazi Germany and apartheid-era South Africa, our writers on Shakespeare, power and protest
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19 Jan 2015 | Events
Presenting the world premiere of a collection of 12 explosive political five minute plays by writers including Mark Ravenhill, Neil LaBute and Caryl Churchill.
Arising from events and decisions relating to The Underbelly and Incubator Theatre’s The City, Exhibit B and the Barbican, and The Tricycle Theatre.
Each performance will include all twelve five minute plays and a lively post-show discussion exploring freedom of expression in UK arts today. Engage in discussion with the commissioned writers and a range of free expression advocates .
The post-show debate on on Friday 30th January will feature Index on Censorship CEO Jodie Ginsberg.
WHERE: Theatre Delicatessen, London, EC1R 3ER
WHEN: Monday 26th – Saturday 31st January, 7:30pm & Sat Matinee
TICKETS: £15 / £12 – available here
This event is produced by Offstage Theatre, in association with Theatre Uncut, and supported by Index on Censorship and Free Word.
