HowlRound Theatre Commons: If you’ve ever tried to get permission to perform a play, you’ve probably encountered some issues having to do with theatrical copyright. But where did the concept of copyrighting theatrical works come from? What do the legal wrangles over who owns the rights to a performance say about the nature of theatre?
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I remember learning in undergrad music school about Gilbert and Sullivan and copyright. The title of Pirates of Penzance was actually a direct jab towards the “pirates” who had stolen their work of HMS Pinnafore and brought it to the states. That’s why Modern Major General jabs at that “infernal nonsense Pinnafore” to rhyme with “Dinafore” in his first patter aria because Pinnafore was so popular in America and versions and pieces of it were being performed all over the states but Gilbert and Sullivan didn’t get a dime from any of it. They were quite understandably upset, which is what lead to the weird “World Premiere” thing that Derek Miller mentions. It was a clever bit of strategy and coordination well before the instant communication that we have these days that has remained one of my favorite copyright stories. I really enjoyed this article. I don’t think I realized that you could patent effects in the theater, though it makes sense. The back and forth on “what is art” by lawyers amuses me to no end. I am actually really interested in getting a copy of this book and learning more. Copyright is such a weird and interesting topic!
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