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Copyright and the value of performance, 1770-1911

Author: Derek Miller
Publisher: Cambridge, United Kingdom ; New York, NY, USA : Cambridge University Press, 2018.
Series: Theatre and performance theory.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Summary:
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  Read more...
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Genre/Form: Electronic books
History
Additional Physical Format: (DLC) 2018011063
(OCoLC)1022077141
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Derek Miller
ISBN: 9781108681032 1108681034 9781108349284 1108349285
OCLC Number: 1050360610
Description: 1 online resource.
Contents: Cover; Half Title; Series page; Title page; Imprints page; Contents; Acknowledgments; Introduction: Copyright, Commodification, and Performance; Economic and Other Values; Copyright History: From Laboring Authors to Valuable Commodities; Performance Theories, Material and Immaterial; Reading Copyright Lawsuits for the Discourse of Value; 1 Performance's Valuable Propriety, 1770-1833; Patents and Propriety; Charles Macklin's Propriety; Extralegal Control; Macklin v. Richardson; Macklin's Love à la Mode; Robert Elliston's Patent; Marino Faliero; The Theatre Royal Performance Rights, National Glory, and the Printed Play2 Ontologies of the Performance-Commodity, 1833-1886; Property, Aesthetics, and Economics; Drama as Embodied Action; Russell v. Smith: Character in Action; Daly v. Palmer: Woman v. Machine; Music as Melody; D'Almaine v. Boosey: Melodic Formalism; Wood v. Boosey: Music beyond Melody; Music Drama; Thomas v. Lennon: Valuable Orchestration; Carte v. Ford: Subordinate Orchestration; Carte v. Duff: Music or Drama?; Gilbert and Sullivan's Litigation: An Aesthetic Interpretation; 3 Audiences, Actors, and Value, 1852-1911; Affect Bloom & Hamlin v. Nixon: Singer or Song?Martinetti v. Maguire: Against the Commodified Body; Barnes v. Miner: Demand and Desire; Actors and Gags; Adaptation; Novel to Play; Across the Channel; The All-Mighty Audience?; For Love or Money; Memory; Economic Value Alone; 4 The Performance-Commodity at Work, 1833-1911; The Music Market; Sheet Music and Performance's Value; The Political Economy of Music in the Age of Its Mechanical Reproducibility; The Theater Industry; Earning Money from the Dramatic Performance-Commodity; Manuscript and Printed Plays Creating Value around the Dramatic Performance-CommodityThe Copyright Performance; Rationale and Invention; Explaining Copyright Performances; Evaluating Copyright Performances; Manufacturing Value; Epilogue: Valuing Performance Today; The Trials of Jesus Christ Superstar; Appendix: Timeline of Major Legislation and Litigation Affecting Performance Rights; Works Cited; Index
Series Title: Theatre and performance theory.
Responsibility: Derek Miller, Harvard University.

Abstract:

Copyright for performances of theater and music was invented in the nineteenth century. Courtroom battles over new laws helped define the value of dramatic and musical performances both economically  Read more...

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'Derek Miller's superb study examines how live performances of drama and music became objects of legally protected commodification between 1770 and 1911. In addition to his extended treatment of Read more...

 
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