ABSTRACT
This chapter examines censorship measures in Slovenian drama in a period from 1945 to 1990, when the communists established a one-party totalitarian regime in the territory of Slovenia, which became one of the Socialist Republics within post-war Yugoslavia. That regime rapidly and uncompromisingly set out its position regarding all potential political opponents, regarded in the spirit of the Marxist-Leninist-Stalinist doctrine as ‘class enemies’ who could under no circumstances be trusted and against whom all means were permitted for their destruction, and a little later, their neutralisation (Vodušek Starič 1992: 28). I shall illustrate these practices by focusing on a single case, namely the staging of Fernando Arrabal’s The Architect and the Emperor of Assyria in the Slovene National Theatre in Ljubljana in 1969.
