In the 1590s, the professional actors troupes of the Elizabethan London buy from the playwriters ready written plays but, most of the time, they impose the authors to conform to some specific themes, plots and a schedule of writing. This process of control allows the Elizabethan business of playing to be profitable. This profitability depends in fact on the amount of playgoers that a representation, and a text, could assemble. Nevertheless, the playwriters take some advantage of this economical and literary submission to the actors requestes. This activity provides them with a regular and important income, which give them the indispensable time and money for writing for the “noble” literary sphere (poems, translations…). The Elizabethan Monarchy changes this purely economic control in a political control tool. On one hand, the Elizabethan State creates an a posteriori censorship of dramatic texts. On the other hand, the two tolerated acting troups in London (the Lord Admiral’s Men and the Chamberlain’s Men) are given by the Monarchy a role of a priori censorship of the texts submitted by the playwriters. Threatened with representation ban and dissolution, the actors troupes use their selection process of texts as means to control rigorously the political and religious content of the plays they buy.