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Copyright and the value of performance, 1770-1911
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 thea...
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| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Cambridge, United Kingdom ; New York, NY :
Cambridge University Press,
2018.
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| Series: | Theatre and performance theory
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| Subjects and Genres: | |
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| 100 | 1 | |a Miller, Derek, |d 1982- |e author. | |
| 245 | 1 | 0 | |a Copyright and the value of performance, 1770-1911 |c Derek Miller, Harvard University |
| 264 | 1 | |a Cambridge, United Kingdom ; |a New York, NY : |b Cambridge University Press, |c 2018. | |
| 264 | 4 | |c ©2018 | |
| 300 | |a viii, 283 pages ; |c 24 cm | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a unmediated |b n |2 rdamedia | ||
| 338 | |a volume |b nc |2 rdacarrier | ||
| 490 | |a Theatre and performance theory | ||
| 500 | |a Based on the author's thesis (doctoral - Stanford University, 2013) issued under title: Judicial criticism : performance and aesthetics in Anglo-American copyright law, 1770-1911. | ||
| 504 | |a Includes bibliographical references (pages 257-267) and index. | ||
| 505 | |a Introduction: Copyright, Commodification, and Performance -- Performance's Valuable Propriety, 1770-1833 -- Ontologies of the Performance-Commodity, 1833-1886 -- Audiences, Actors, and Value, 1852-1911 -- The Performance-Commodity at Work, 1833-1911 -- Epilogue: Valuing Performance Today -- Appendix: Timeline of Major Legislation and Litigation Affecting Performance Rights. | ||
| 541 | |c Purchase; |a eBay' |d 3-31-22; |h 42.18 Forrest Fund | ||
| 590 | |a Forrest Performing Arts Complimentary Collection | ||
| 520 | |a 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. | ||
| 650 | |a Copyright |x Drama |z United States |x History. | ||
| 650 | |a Copyright |x Drama |z Great Britain |x History. | ||
| 650 | |a Performing arts |x Economic aspects |z United States |x History. | ||
| 650 | |a Performing arts |x Economic aspects |z Great Britain |x History. | ||
| 776 | |i Ebook version : |z 9781108681032 | ||
| 830 | 0 | |a Theatre and performance theory | |
| 852 | 0 | 0 | |a Historical Society of Pennsylvania |b Closed Stacks |h K 1443 .D7 M55 2018 |t 1 |
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