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| re: Interesting way a theater company reacted to criticism over making unauthorized cuts - Federal Copyright? | |
| Posted by: Cainebj 10:06 am EDT 08/13/17 | |
| In reply to: re: Interesting way a theater company reacted to criticism over making unauthorized cuts - Federal Copyright? - ryhog 09:58 am EDT 08/13/17 | |
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| No, it does not take the wind out of my sails. You are 100% right. Legally, no one can do it. I think that is a shame. Sorry, that is my belief. |
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| Link | Wooster Group and Miller |
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| re: Interesting way a theater company reacted to criticism over making unauthorized cuts - Federal Copyright? | |
| Posted by: ryhog 11:10 am EDT 08/13/17 | |
| In reply to: re: Interesting way a theater company reacted to criticism over making unauthorized cuts - Federal Copyright? - Cainebj 10:06 am EDT 08/13/17 | |
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| Had you said that from the get-go, there would have been no dispute here. I agree it is a shame, and were I emperor I would put plays produced post-mortem on the same footing as songs. I would also abrogate the Sonny Bono/Mickey Mouse law. | |
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| re: Interesting way a theater company reacted to criticism over making unauthorized cuts - Federal Copyright? | |
| Posted by: whereismikeyfl 10:22 am EDT 08/13/17 | |
| In reply to: re: Interesting way a theater company reacted to criticism over making unauthorized cuts - Federal Copyright? - Cainebj 10:06 am EDT 08/13/17 | |
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| Yes, the Wooster Group did things differently 30 years ago. But their recent productions of Williams and Pinter (and O'Neill directed by Richard Maxwell) used the texts uncut and unaltered. Pinter's estate did not allow them to do additional runs of The Room, but they could not shut it down because it was faithful to the text. Bogart has been using whole texts since the 80s. South Pacific, The Women, Miss Julie, Private Lives, all used full texts. Shelton though is not even fishing in this pond. His work is not investigating the original. The cuts are not for meaning (like the Wooster Group shows of the 70s) but rather convenience. And he tried to trade off the name recognition of the playwright and play. When the Wooster Group did sample existing works, they never represented to the public that they were doing the play. i.e. audiences were buying tickets to LSD Part 1 not to The Crucible. (Though it is still by far the best production of The Crucible that I have ever seen.) |
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