Copyright and the Value of Performance, 1770–1911
Seiten
2018
Cambridge University Press (Verlag)
978-1-108-42588-9 (ISBN)
Cambridge University Press (Verlag)
978-1-108-42588-9 (ISBN)
Copyright for performances of theater and music was invented in the nineteenth century. Courtroom battles over new laws helped define the value of dramatic and musical performances both economically and artistically. Scholars of theater and performance, music, and law will learn how copyright changes the artistic forms it seeks to control.
In the nineteenth century, copyright law expanded to include performances of theatrical and musical works. These laws transformed how people made and consumed performances. Exploring precedent-setting litigation on both sides of the Atlantic, this book traces how courts developed definitions of theater and music to suit new performance rights laws. From Gilbert and Sullivan battling to protect The Mikado to Augustin Daly petitioning to control his spectacular 'railroad scene', artists worked with courts to refine vague legal language into clear, functional theories of drama, music, and performance. Through cases that ensnared figures including Lord Byron, Laura Keene, and Dion Boucicault, this book discovers how the law theorized central aspects of performance including embodiment, affect, audience response, and the relationship between scripts and performances. This history reveals how the advent of performance rights reshaped how we value performance both as an artistic medium and as property.
In the nineteenth century, copyright law expanded to include performances of theatrical and musical works. These laws transformed how people made and consumed performances. Exploring precedent-setting litigation on both sides of the Atlantic, this book traces how courts developed definitions of theater and music to suit new performance rights laws. From Gilbert and Sullivan battling to protect The Mikado to Augustin Daly petitioning to control his spectacular 'railroad scene', artists worked with courts to refine vague legal language into clear, functional theories of drama, music, and performance. Through cases that ensnared figures including Lord Byron, Laura Keene, and Dion Boucicault, this book discovers how the law theorized central aspects of performance including embodiment, affect, audience response, and the relationship between scripts and performances. This history reveals how the advent of performance rights reshaped how we value performance both as an artistic medium and as property.
Derek Miller is John L. Loeb Associate Professor of the Humanities at Harvard University, Massachusetts.
Introduction: copyright, commodification, and performance; 1. Performance's valuable propriety, 1770–1833; 2. Ontologies of the performance-commodity, 1833–86; 3. Audiences, actors, and value, 1852–1911; 4. The performance-commodity at work, 1833–1911; Epilogue: valuing performance today; Appendix: timeline of major legislation and litigation affecting performance rights.
| Erscheinungsdatum | 03.10.2018 |
|---|---|
| Reihe/Serie | Theatre and Performance Theory |
| Zusatzinfo | Worked examples or Exercises |
| Verlagsort | Cambridge |
| Sprache | englisch |
| Maße | 157 x 235 mm |
| Gewicht | 560 g |
| Themenwelt | Literatur ► Lyrik / Dramatik ► Dramatik / Theater |
| Kunst / Musik / Theater ► Musik ► Allgemeines / Lexika | |
| Kunst / Musik / Theater ► Musik ► Klassik / Oper / Musical | |
| Kunst / Musik / Theater ► Theater / Ballett | |
| Recht / Steuern ► EU / Internationales Recht | |
| Recht / Steuern ► Wirtschaftsrecht ► Urheberrecht | |
| ISBN-10 | 1-108-42588-7 / 1108425887 |
| ISBN-13 | 978-1-108-42588-9 / 9781108425889 |
| Zustand | Neuware |
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