Appropriating value: on the relationship between business models and intellectual property

Berthold, Henning Alexander; Grewar, Melinda Anne; Chillas, Shiona; Townley, Barbara

doi:10.4337/9781786431172.00036

Cited by 2 publications

(2 citation statements)

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“…Or highlights of a monologue or song to relive on the journey home? Of course, this collaboration between artists, venues and festivals raises questions around who owns, licences and profits from these recordings, especially where significant investments or resources are provided by venues and festivals themselves (see also Berthold et al, 2018).…”

Section: Recording In Service To Live Performancementioning

confidence: 99%

Recorded performance as digital content

Elsden¹,

Yu²,

Piccio³

et al. 2021

Performance in a Pandemic

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Within days of performance venues being forced to close their doors in 2020, the National Theatre began broadcasting high-quality recordings of the best of London's West End. Few other companies could dream of having such rich recorded archives to draw upon. Indeed, for many artists there is a clear tension in the very idea of recording work that is intended to be experienced live.This essay reports on 20 in-depth interviews with performers and theatre-makers who had planned to bring shows to the 2020 Edinburgh Fringe Festival. This article reports on how performers responded to the prolonged closure of venues, and developed a series of strategies to generate value from recordings, even with limited production budgets. Crucially, very few opted to record whole live shows in empty theatres -instead they found specific uses and rationales for recording performance, while developing new expertise with sharing recorded media on digital platforms.We argue that these digitally mediated performances are distinct from other forms of film or 'live-todigital' theatre. Indeed, we suggest that this emerging genre of record will persist beyond the COVID-19 pandemic, and points to new opportunities in recording, broadcasting, and archiving performing arts as digital content.

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Section: Recording In Service To Live Performancementioning

confidence: 99%