Plays, Performances and Power Struggles – Examining Copyright's ‘Integrity’ in the Field of Theatre

Abstract

This is the accepted version of the paper.This version of the publication may differ from the final published version. Permanent AbstractThis article explores the notion of 'integrity' under copyright law by analysing examples of 'integrity-based objections' in the field of theatre. These objections typically involve playwrights objecting to changes being made to their copyright works by other parties, such as directors and actors.

Collective Dissent as Legal Consciousness in Contemporary British Theatre

“…This is in line with Marcus and Okely's view that we need to expand our view of what the field is (Marcus and Okely, 2007: 362). The theatre is about the words created by the playwright, interpreted by the director and performed by actors (McDonagh, 2014). As a result, both text and oration are relevant to interpretation; both participant observation and textual analysis provide the data.…”

“…While there is overwhelming literature in theatre studies as it relates to law, this tends to be a textual or cinematic exploration, an exploration of law as theatre, or explorations about certain subjects of law such as ownership of copyright (e.g. McDonagh, 2014;Shetsvova, 1989aShetsvova, , 1989bShetsvova, , 1989c. Less common is the socio-legal investigation of theatre performance and what it offers its audience about society's relationship to law, order and justice.…”