▁given ▁that ▁the ▁organization ▁had ▁received ▁dem ands ▁for ▁changes ▁from ▁the ▁c ensor , ▁which ▁included ▁a ▁threat ▁to ▁block ▁the ▁production ▁entirely ▁if ▁these ▁were ▁not ▁met . ▁The ▁original ▁story ▁line ▁of ▁St iff el io , ▁involving ▁as ▁it ▁does ▁a ▁Protest ant ▁minister ▁of ▁the ▁church ▁with ▁an ▁ad ul ter ous ▁wife , ▁and ▁a ▁final ▁church ▁scene ▁in ▁which ▁he ▁forg ives ▁her ▁with ▁words ▁quoted ▁from ▁the ▁New ▁Testament , ▁was ▁impossible ▁to ▁present ▁on ▁the ▁stage , ▁and ▁this ▁created ▁these ▁c ensor ship ▁dem ands ▁for ▁various ▁reasons : ▁ ▁" In ▁Italy ▁and ▁Aust rian ▁Tri este ▁... ▁a ▁married ▁priest ▁was ▁a ▁contradiction ▁in ▁terms . ▁Therefore ▁there ▁was ▁no ▁question ▁of ▁a ▁church ▁in ▁the ▁final ▁scene .... " ▁ ▁The ▁changes ▁which ▁were ▁demanded ▁included ▁St iff el io ▁being ▁referred ▁to ▁not ▁as ▁a ▁minister , ▁but ▁as ▁a ▁" sect arian ". ▁ ▁Furthermore , ▁in ▁act ▁ 3 , ▁L ina ▁would ▁not ▁be ▁allowed ▁to ▁beg ▁for ▁conf ession , ▁plus ▁as ▁Bud den ▁notes , ▁" the ▁last ▁scene ▁was ▁reduced ▁to ▁the ▁most ▁point less ▁ban ality " ▁where by ▁St iff el io ▁is ▁only ▁permitted ▁to ▁pre ach ▁in ▁general ▁terms . ▁Both ▁men ▁were ▁rel uct antly ▁forced ▁to ▁agree ▁to ▁accept ▁the ▁changes . ▁ ▁Performance ▁history ▁ ▁The ▁different ▁versions ▁ ▁In ▁the ▁introduction ▁to ▁the ▁critical ▁edition ▁prepared ▁in ▁ 2 0 0 3 ▁by ▁Kath le