Performing Copyright

1. Introduction – Copyright and Authorship on Stage
The Rationale for this Book
Overview of Jurisdictional Limitations and Thematic Scope
A Theoretical Approach to Law and Authorship
Copyright's Cultural Turn
Empirical Methodology
Using Bourdieu to Frame the Empirical Case Study
Overview of Chapters

2. 'The Play's The Thing …' But What's the Play? And Who Owns It?
Introduction
Assessing the Relevance of Literary Theory and Theatre Studies on Legal Issues of Authorship
Tracing the Influence of Law on Theatre and Theatre on Law: The Role of the Inns of Court and the Impact of the Stationers' Company in the Elizabethan and Jacobean Eras (1558–1625)
Law and Theatre: Assessing the Theatrical Text and Authorship During the Elizabethan and Jacobean Eras (1558–1625)
Ownership of Plays in the Elizabethan and Jacobean Eras (1558–1625)
Theatrical Collaboration as Polyvocal Authorship in the Elizabethan and Jacobean Eras (1558–1625)
An Unstable Text in the Elizabethan and Jacobean Eras (1558–1625)
A Case Study on Authorial and Textual Instability – Thomas Kyd and The Spanish Tragedy 1594–1613
The Publication of Shakespeare's First Folio (1623) and the Beginning of his Acclamation as the English Author-Figure Par Excellence
Was Ben Jonson the First Self-conscious 'Author' in English Theatre?
How Reconceptualising Anonymity Influenced Authorship During the Seventeenth Century
Censorship of Theatre Texts in the Sixteenth and Seventeenth Centuries
Material Matters – Printing, 'Piracy' and 'Blocking' in the Pre-Statutory Copyright Era 1557–1709
The Changing Nature of Theatre and the Playwright's Status, Post-Restoration (1660–1709)
The Statute of Anne 1710 and the Recognition of Authors as Owners
Changes to Theatrical Culture Post-Statute of Anne 1710
Defining the Boundaries of Copyright Protection under the Statute of Anne 1710
The Changing Appreciation of What Copyright Protected 1710–1832 – From the Print-commodity to the
Performance-commodity
The Reforms Brought About by the 1833 Act and 1842 Act – The Right to Perform a 'Dramatic Piece'
The Problem of Dramatisations Post-1833
Authorship and Joint Authorship Under the 1833 Act and 1842 Acts
What Were the Boundaries of the 'Dramatic Piece' 1833–1911?
US Comparison under the 1856 US Copyright Act
International Copyright: The Berne Convention 1886
The Imperial Copyright Act 1911
Conclusion

3. Copyright Law and Performing Authorship in Theatre – Exploring the Contrasting Roles of the Playwright, Director and Performers
Introduction
Understanding the Work in Modern Copyright Law
Original Dramatic Works under the Copyright, Designs and Patents Act (CDPA) 1988
Original Musical Works
Original Literary Works
Original Works in EU Copyright Law – Assessing the 'Dematerialised' Work of Originality
Original Works – Comparative Insights
Summary of the UK Position on Originality of Dramatic Works
Authorship and Ownership of the Economic Rights
Overview of Joint Authorship
Joint Authorship of Dramatic Works in the UK
Joint Authorship of Musical Works in the UK
Joint Authorship – Comparative Insights
Beyond the Individual – Exploring Theatrical Authorship as a Social Practice
Evaluating the Original Dramatic Work as Theatrical Text – 'Fully Formed' or 'Devised/Revised'?
Joint Authorship: How Do Dramatic Works Get Created Via the Workshop Process?
The Role of the Writer
The Role of the Director
The Role of the Actors (Performers)
The Final 'Transcendent' Work
Is the 'Workshopped' Play a Work of Joint Authorship?
The Importance of Contracts
Assessing the Legal Problems that can Arise from Sharing Ownership
Conclusion