| Description |
1 online resource |
| Series |
Theatre and performance theory |
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Theatre and performance theory.
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| Contents |
Cover; Half Title; Series page; Title page; Imprints page; Contents; Acknowledgments; Introduction: Copyright, Commodification, and Performance; Economic and Other Values; Copyright History: From Laboring Authors to Valuable Commodities; Performance Theories, Material and Immaterial; Reading Copyright Lawsuits for the Discourse of Value; 1 Performance's Valuable Propriety, 1770-1833; Patents and Propriety; Charles Macklin's Propriety; Extralegal Control; Macklin v. Richardson; Macklin's Love à la Mode; Robert Elliston's Patent; Marino Faliero; The Theatre Royal |
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Performance Rights, National Glory, and the Printed Play2 Ontologies of the Performance-Commodity, 1833-1886; Property, Aesthetics, and Economics; Drama as Embodied Action; Russell v. Smith: Character in Action; Daly v. Palmer: Woman v. Machine; Music as Melody; D'Almaine v. Boosey: Melodic Formalism; Wood v. Boosey: Music beyond Melody; Music Drama; Thomas v. Lennon: Valuable Orchestration; Carte v. Ford: Subordinate Orchestration; Carte v. Duff: Music or Drama?; Gilbert and Sullivan's Litigation: An Aesthetic Interpretation; 3 Audiences, Actors, and Value, 1852-1911; Affect |
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Bloom & Hamlin v. Nixon: Singer or Song?Martinetti v. Maguire: Against the Commodified Body; Barnes v. Miner: Demand and Desire; Actors and Gags; Adaptation; Novel to Play; Across the Channel; The All-Mighty Audience?; For Love or Money; Memory; Economic Value Alone; 4 The Performance-Commodity at Work, 1833-1911; The Music Market; Sheet Music and Performance's Value; The Political Economy of Music in the Age of Its Mechanical Reproducibility; The Theater Industry; Earning Money from the Dramatic Performance-Commodity; Manuscript and Printed Plays |
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Creating Value around the Dramatic Performance-CommodityThe Copyright Performance; Rationale and Invention; Explaining Copyright Performances; Evaluating Copyright Performances; Manufacturing Value; Epilogue: Valuing Performance Today; The Trials of Jesus Christ Superstar; Appendix: Timeline of Major Legislation and Litigation Affecting Performance Rights; Works Cited; Index |
| Summary |
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 |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Online resource; title from PDF title page (EBSCO, viewed September 5, 2018) |
| Subject |
Copyright -- Drama -- United States -- History
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Copyright -- Drama -- Great Britain -- History
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Performing arts -- Economic aspects -- United States -- History
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Performing arts -- Economic aspects -- Great Britain -- History
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LAW -- Administrative Law & Regulatory Practice.
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Copyright -- Drama
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Performing arts -- Economic aspects
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Great Britain
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United States
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| Genre/Form |
History
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| Form |
Electronic book
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| ISBN |
9781108681032 |
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1108681034 |
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9781108349284 |
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1108349285 |
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