For an assessment of the extent to which the repertoire of the Taganka theatre was affected by cultural politics, bare statistics might provide only a one-sided and superficial picture. Between 1964 and 1983, four completed productions were banned (The Tough, Protect Your Faces, Vysotsky, and Boris Godunov); the choice of plays had often depended on the controlling bodies, while other projects did not even receive permission for rehearsal, such as Erdman’s The Suicide or Dostoevsky’s The Possessed. However, numbers are less revealing than the manner in which the state and Party apparatus related to the theatre. The tone of the state officials in discussions after 1966/67 was invariably hostile; these representatives always dwelt on their authority (reflected in their position rather than their competence). Lyubimov objected particularly to their pseudo-competence in artistic matters: he refused to be told how to create his productions by officials, office workers, bureaucrats who were frequently uneducated.