Every play which is produced-and for that matter, every book that is published, every picture which is exhibited, every film which is turned-is subjected to the Board of Censors... Romantic love in even its purest phases is not thought to be a fitting subject for consideration of citizens of a communist state;. . . the sex play is unknown in modern Russia... There remains as the ubiquitous theme for plays: revolution, with all the patriotic and nationalistic connotations which have grown up around it; heroism, sacrifice for the nation and class; consciousness of solidarity with one's fellow proletarians; common suffering; great adventures with new ideas; great prospects for future machine age which is to be a sort of Russian-communist Americanism.