CENSORING YOUNG AUDIENCES

THE DEBATE

Although MARIZA'S STORY has been performed successfully in schools, like the Netherall Lower School in Cambridge, and by youth groups, like South Glamorgan Youth Theatre, it has not yet been produced professionally. One of the reasons of this is because it is a story set amongst street children in Brazil - a material deemed to be too strong and 'tragic' for a young theatre audience.

Obviously, having well in mind the care with which any drama, realistic or otherwise, should be presented to a young audience, so that it is neither traumatic nor gratuitous, the question is: should children see plays about what is happening to their peers in this or that part of the world - especially when they are going through hard times and tragic experiences -?

Young children do not choose the plays they see. The choice is made for them by their parents and teachers. Are these adults really 'protecting' the children in their care by not letting them watch plays like MARIZA'S STORY? Or do they deprive them of a right to know and see by themselves?

How far 'censorship' over a young person should go in this matter?

This is one of those ongoing debates in youth theatre destined to never end. Passionate viewpoints and good arguments abound on all sides. And long it may be like this! If you care for young people and love theatre for young people this kind of controversy is meat and drink - and not some pap - to feed on.

The following press extract from the Independent newspaper is here to start you thinking about the subject. You'll soon be asking yourself where do you stand.

THE INDEPENDENT, 9 December 1992

SARAH HEMMING reports on the jury of the WH SMITH Plays for Children Competition. (Extract)

ANYTHING BUT CHILD'S PLAY

... In this age-range (9 to 12 year-old category), there are several strong contenders and the arguments are hotting up. Of the main contenders, one is more fully realised; the other is bigger in scope. Both deal with important subjects, one on a domestic level, the other on an international one: Chomolungma focuses on a young boy fostered against his will, while MARIZA'S STORY tackles the problem of the world's street-children. Both are highly admired, but Jude Kelly voices the worry that MARIZA'S STORY might prove too depressing. Her colleagues leap to the play's defence.

Ken Campbell thinks not: "It's not like those films that you judge by whether you're going to go and throw yourself in the canal after you've seen them. It's incredibly uplifting. I marked it off on a graph scale - up-down-up-down-up-down. The notion that it is all completely downwards and full of despair is not borne out if you get graph paper out."

"Surely theatre, including theatre for children, should be extreme," adds Adrian Mitchell. David Holman is becoming increasingly passionate. "I would want to make a case for its humanity and optimism as against people saying that it's too hard to take. I would fight that idea. Our children should be put into the world where their contemporaries are - they should know what it's like. If it's done well, and carefully, that's what should happen in theatre."

The panel cease fire to take the votes. Yet, whichever way they are counted, MARIZA'S STORY and Chomolungma emerge neck and neck, count after count.

Adrian Mitchell attempts to force a resolution in favour of MARIZA'S STORY with a personal plea, based on his considerable experience as a children's playwright.

"I took a child to see the Drink The Mercury which is a very moving play," says Mitchell. "And they could take it; they took it better than me. I wept - the children didn't weep. I think it would be the same with MARIZA'S STORY."

"What's Drink the Mercury?" asks Campbell, innocently.

There is a momentary pause.

"It's a play I wrote a few centuries ago," says Holman, laughing. "I'll drop it round to you some time!"

A draw is declared.

In the first WH Smith Plays for Children Awards the winners were as follows: 9 to 12-Year-Old Category Joint First Prize: Chomolungma by Adrian Flynn and Mariza's Story by Michele Celeste.

Ken Campbell

MARIZA'S STORY.

"The notion that it is full of

despair is not borne out".

MARIZA'S STORY

introduces audiences to the

plight of some of the world's

street-children.

In this scene, Mariza, who has become separated

from her mother, encounters a shuffling, talking

cardboard box on the street.

Box (with a strange voice) I'm sorry. I didn't realise “you” were thirsty. (Accusingly) Another runaway!... Oh-oh!

(Mariza is scared)

What are you doing in a big city like this?

Mariza I - I - I'm looking for my mum.

Box Looking for your mum, eh?

Mariza And my sister, Tania.

Box I have heard all sorts of excuses from you lot -

Mariza It's true!

Box Where do you think you'll find your mum and sister then?

(Mariza shrugs, pause)

Where!

Mariza I - I don't know.

Box You're a runaway!

Marlza No... I'm not a runaway.

Box Have you seen how many children are living on the streets here?

Mariza I - I've just got here...

Box Ah-ha! The street is no place for a little girl.

Mariza I'm only looking for...

Box (cutting in) Be warned! If a cop nicks you, he'll send you into an orphanage! Where they beat you all the time! Aren't you scared now?

(Mariza nods. Pause)

Why don't you go back home?

Mariza Home...? Which way's my home?

Box Oh, yes, go on pretending you're lost... Dirty clothes, broken shoes... There you are. Good advice is lost on urchins like you.

(The box makes an attempt to grab Mariza)

Mariza Aaaahhhhh!!!

(Mariza drops her coat and runs off Marcelo, a street kid, comes out of the box laughing his head off)

Marcelo Ha! Ha! Ha!... Oh, what do I see there? Another kid, newcomer to the city... Ha! Ha! Ha! II give him a fright too. Ha! Ha! Ha!

(Marcelo gets back into the box and exits laughing)