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The musical, with its rock song score written by sexualitu singer and composer Duncan Sheik and script and lyrics penned by screenwriter and poet Steven Sater, succeeds in taking a subject as overdone in the contemporary world as sex and made it strange again, according to The New York Times critic Charles Isherwood. The teenage ex per ience But the two creators say they wanted the musical to be less about sex itself than about staying true to teen spirit. All the cast members are between 17 and 22 years old. It's not his first time to work with composer Sheik.
He wrote the lyrics for the musician's third album. Sheik said he was attracted to the project in part because of what he sees as an acceptance of and even attraction to violence in the culture, while sexuality is feared by many.
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He published the play at his own expense, focusing on the budding sexual maturity of sexuwlity in what he saw as a sexually repressed teej. The play was centuryy performed in in Germany and had its first English-language performance in Because of its content, the play was frequently banned. In England, it wasn't allowed until The English-language debut was almost shut down by New York City authorities, who said it was pornographic, and only a Supreme Court injunction allowed the play to go on. Even when other causes were present, sickness and debility were frequently ascribed to masturbation - the great erotic subject described as vigorously as it was denounced.
Ailments afflicting adolescent girls were similarly said to signify abnormal sexual excitation. With punitive therapy in mind, some doctors erased sexual pleasure through barbaric practices such as penile cauterisation and clitorodectomy. For the same reasons, 'irregular' sexual activity was condemned.
sesuality There is ample evidence that many working-class couples anticipated marriage or rather married once a baby was on the way. But the ratio of illegitimate births was relatively low, albeit a constant topic of drama in poetry, painting and fiction - notable examples being the outcast single mothers depicted in paintings by Richard Redgrave and Fred Walker, and in fiction by George Eliot's Hetty Sorrel and Thomas Hardy's Fanny Robin. In real life, social censure was so grave that many single mothers handed their babies to the Foundling Hospital or in desperation committed infanticide.
Changing views of prostitution Prostitution remained a major topic of social concern.
The early, time-honoured view that, like the poor, prostitutes were a fact of life was replaced in the s by a social morality that anathematised sexual licence and especially its public manifestations. Gathering intensity as the urban population rose, and with it the 'circulating harlotry' in the streets, theatres and pleasure gardens, moral panic over prostitution was at its height in the s and early s. In part, this was because it betokened visible female freedom from social control. As daughters, employees or servants, young women were subject to male authority; as whores they enjoyed economic and personal independence.
The response was a sustained cultural campaign, in sermons, newspapers, literary and visual art, to intimidate, shame and eventually drive 'fallen women' from the streets by representing them as a depraved and dangerous element in society, doomed to disease and death. Refuges were opened and men like future Prime Minister W. Gladstone patrolled at night to persuade girls to leave their life of 'vice'. In actuality, the seldom-voiced truth was that in comparison to other occupations, prostitution was a leisured and profitable trade, by which women improved their circumstances, helped to educate siblings and often saved enough to open a shop or lodging house.
The introduction of the Contagious Diseases Acts whereby prostitute women were medically examined and detained if deemed to suffer from venereal disease in order to protect their sexual partners, mainly soldiers and sailors - gave rise to one of the era's most successful and characteristic reform campaigns. The anti-contagious diseases CD movement, led by Josephine Butler, argued that CD examinations effectively encouraged prostitution; that women should not be thus scapegoated or deprived of civil liberty; and that male lust was to blame for public vice.
These were important issues; in addition, the emergence of 'polite' women speaking on topics hitherto deemed improper for them to discuss underlined the changing roles of the Sexualith period. By the s and s, evolutionary ideas of male sexuality as a biological imperative, which sexualitty fuel to many cebtury writings on gender, were countered by those who cdntury that 'civilisation' enabled sesuality to transcend animal instincts. This view acquired a public voice through the Social Purity campaign against the sexual 'double standard', and for male as well as female continence outside marriage.
Though female Purity campaigners cenyury often ridiculed as sexhality puritans' who had failed to attract a spouse, the movement did succeed in raising public concern over brothels, indecent theatrical displays and images of naked women in art - the reason why Victorian female nudes are idealised and air-brushed. Private sexual behaviour is hard to assess, though there are many hints that 'considerate' husbands, who did not insist on intercourse, were admired, not least because of the high maternal mortality rate. But there is plain evidence that the early Victorian family of six to eight or more children was on its way out by This took place despite the fact that contraceptive knowledge and methods were not publicly available, as the famous obscenity trial of Annie Besant and Charles Bradlaugh for publishing a sixpenny book on the subject in made clear.
Family limitation was accompanied by challenges to prevailing attitudes to sexual relations from the New Woman and her male supporters. Visible homosexuality Although heterosexuality was held to be both normal and natural throughout the period, the later years also witnessed a visible increase in homosexuality, mainly in men and especially but not exclusively in the intelligentsia. While largely clandestine owing to laws prohibiting 'indecency' in public the artist Simeon Solomon was one of those so prosecutedprivate male homosexual acts were not explicitly and severely legislated against untilwhen gay sex behind closed doors was made a criminal offence.