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Conclusion

In spite of the Teatro do Povo and other literary prizes, and national contests, the regime was unable to encourage the emergence of a homogeneous group of intellectuals who would be able to produce an official literary corpus (Rosas 421). Ferro himself also admitted that many contemporary writers of “undeniable talent” did not even compete for these prizes, but searched for other ways of achieving recognition (O 129).

It seems that although the complicated and unnecessarily protracted censorship as well as bureaucratic procedures severely hindered the work of the theatre practitioners in the Estado Novo, only a small percentage of the theatre translations were prohibited in this period. It should be highlighted, though, that no information has been available with respect to the degree of self-censorship adopted by the theatre practitioners of the era.

No British work, and only four American works were censored, and none of them were banned or bowdlerised on political grounds, but because of violating public morals and conveying supposedly immoral messages. Moreover, unlike in Nazi Germany and Fascist Italy, in Portugal no restrictive measures or recommendations were ever implemented in order to reduce the number of foreign plays or plays by authors of a specific nationality in the Portuguese theatres. All in all, it must be concluded that although initially Salazar showed sympathies with the Axis powers and several leading politicians of the regime also shared pro-Nazi sentiments during the war, it is not reflected by the theatre translations for stage during Estado Novo in Portugal to a significant degree.

 
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