Loading ...
Sorry, an error occurred while loading the content.

9260Re: Copyright and the theater

Expand Messages
  • David
    Jul 2, 2007
      The pieces themselves belong to the theatre whether she was paid or
      not. She would only have a leg to stand (on point?) on if the company
      was planning a ocmplete remount of the production without coming to
      some kind of financial arrangement with her.

      --- In TheCostumersManifesto@yahoogroups.com, Sylvia Rognstad
      <sylvia@...> wrote:
      > Who now owns the sets and costumes she designed? I assume the
      > does, in which case, they can do anything they want with them. If
      > designer didn't pay for the materials and left the sets and
      > with the theatre, they are not hers. Am I missing something here?
      > Where are they physically?
      > Sylrog
      > On Jul 2, 2007, at 3:35 PM, Mom IS my real name wrote:
      > > My question, discussed here a few weeks ago, is still a little
      > > different. I'll word it more specifically than before: what to do
      > > with a "designer", who is no longer affiliated with our non-
      > > and donated her time and talent, who now claims her "vision" is
      > > property? She says we can't use costumes and sets she designed
      > > anymore. I say that's ridiculous, and I'm the one who could run
      > > and copyright patterns I developed for costumes made after her
      > > renderings. Likewise, I say she can protect her drawings, but not
      > > her "vision", especially since half her vision isn't unique at
      > > and I can prove it. What a pain. If I made the same claim, the
      > > ballet company in question would be dancing naked, since they
      > > hundreds of pieces that I both designed and built, and many that
      > > even paid for so that I could realize my "vision"!
      > >
      > > Some of you have already commented on this, but it's still
      giving me
      > > stomach aches. This artist doesn't seem to realize what she's
      > > to her own reputation. Should we ask all contributors now to sign
      > > something allowing the company to use sets and costumes in
      > > perpetuity? Have any of you ever been asked to do such a thing,
      > > do you assume your work belongs to theatre or company you
      designed it
      > > for?
      > >
      > > Based on the "Urinetown" case I understand the arguement that I
      > > design something for one production and then make an identical
      > > for another production unless I own the rights somehow. That's
      > > something else this designer needs to know. Affiliation with a
      > > ballet company means she should develope a new "vision" for the
      > > ballets she's designed already. Yes?
      > >
      > > Janelle
      > >
      > >
      > >
      > [Non-text portions of this message have been removed]
    • Show all 13 messages in this topic