Nuolat kintantys cenzūros kontekstai: keletas tyrimų perspektyvų

LTStraipsnyje analizuojama cenzūros sąvoka, pristatomos dvi pagrindinės cenzūros tyrimų kryptys. Aptariamas dominuojantis tradicinis, aiškia cenzoriaus ir cenzūruojamojo opozicija paremtas požiūris į cenzūros reiškinį, ir kiek naujesnės prieigos, besikoncentruojančios ties naujosios cenzūros sąvoka. Tradicinėje prieigoje cenzūra traktuojama kaip instituciškai įtvirtinta, represyvi kontrolės forma, kurios veikla apibrėžiama chronologinėmis bei teritorinėmis ribomis. Ši koncepcija lyginama su tyrimais, kuriuose cenzūra interpretuojama kaip konstitutyvus galios mechanizmas, formuojantis diskursus ir dalyvaujantis sociopolitinio bei kultūrinio lauko kūrimo procese. Straipsnyje siūloma, kaip būtų galima sujungti šių dviejų krypčių metodinius įrankius siekiant pateikti kompleksinį cenzūros kaip sistemos vertinimą. Raktažodžiai: cenzūra, teatras, naujoji cenzūra, diskursas, saviraiškos laisvė, savicenzūra, konstitutyvi galia.

ENThe article analyses the concept of censorship and presents two main approaches to its study. It discusses the traditional perspective, which is based on the clear opposition between the censor and the censored, and the approaches of new censorship, which emphasise the analysis of censorship as a complex phenomenon. In the traditional approach, censorship is treated as an institutionally established repressive form of control, whose activities are defined by chronological and territorial boundaries. This concept highlights the system of prohibitions and restrictions imposed by governing institutions, whose primary goal is to prevent the dissemination of undesirable knowledge, ideas, or works. However, this perspective often overlooks the long-term impact of censorship on the sociocultural context. In contrast, researchers in new censorship analyse censorship not only as repressive but also as a constitutive force that not only prohibits but also creates new discourses. Such censorship operates subtly, dispersing and relocating elements of discourse, aiming not only at control but also at shaping social and cultural norms. This perspective allows censorship to be viewed as a constantly functioning and ever-present force whose effects extend beyond institutional boundaries, encompassing the participation of society and individual groups in the censorship process.The article proposes combining traditional and new censorship perspectives to provide a comprehensive assessment of the phenomenon. The structural clarity of the traditional approach, focusing on institutional analysis, balances the emphasis of new censorship researchers on the functioning of power mechanisms within social and cultural contexts. The integration of these two approaches enables an understanding of both the historical and contemporary aspects of censorship. Such a synthesis of methods not only broadens the scope for censorship studies but also helps uncover its impact on the development of theatre. Keywords: censorship, theatre, new censorship, discourse, freedom of expression, self-censorship, constitutive power.

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