In this rethinking of authorship in contemporary theatre, Enid Brain uses a collaborative definition of creativity to open up opportunities for theatre workers to advocate for pay equity.
The Martin E. Segal Theatre Center in New York City presents Experimental Theatre + Performance Publishing with 3 Hole Press, 53rd State Press, and Ugly Duckling Presse livestreaming on the global, commons-based peer produced HowlRound TV network at howlround.tv Monday 17 December 2018 at 3:30 p.m. PST (San Francisco) / 5:30 p.m. CST (Chicago) / 6:30 p.m. EST (New York).
Playwright and attorney Cheryl Davis delves into the legal specifics of Creative Commons and fair use, explaining how artists can use them to fit their needs.
Eric Kildow looks at the letter written by Doug Wright of the Dramatists Guild in the wake of casting conflicts and at the cease and desist letters sent to the creators of thatswhatshesaid in the context of what they mean for the nature of collaboration and collective control of the means of production.
After Ernie Nolan was terminated from a theatre company where he was artistic director, he considers the rights of artists and administrators who work in states where employers can fire at will.
Last Rights? thatswhatshesaid Offers a Challenging Conversation.
19 March 2016
Dramaturg and rhetoric instructor, Arwen Mitchell, explores artistic ownership, intellectual property, and new idea formation in consideration of Samuel French’s cease-and-desist orders to thatswhatshesaid.
Dramatists Guild of America presented Contracts 101: Fair Use & the Dramatist livestreamed on the global, commons-based peer produced HowlRound TV network at howlround.tv on Tuesday 5 May at 2:30 p.m. PDT (Los Angeles) / 3:30 p.m. MDT (Albuquerque) / 4:30 p.m. CDT (Austin) / 5:30 p.m. EDT (New York). To participate on Twitter, use hashtag #howlround and direct your questions to @DramatistsGuild. Additionally, follow @HowlRoundTV for updates.
How Should We Publish & License New Plays In An Online World?
17 July 2014
#RightsWeek post: While I think the databases may be useful for schools and small companies, at the highest level I question whether access to plays is really the rate-limiter behind getting more plays to production. Rather I think the dialogue between producers and playwrights is limited and opaque and inauthentic, leading to misspent efforts all around.
#RightsWeek post: No one gets into directing new plays because they want to copy someone else’s work. For me, the fun is in solving a monumental problem in a completely unique and aesthetically elegant manner.
Samuel French, Inc in New York City presents four livestreaming panel discussions for #RightsWeek: Protecting & Sharing Your Intellectual Property on the global, commons-based peer produced HowlRound TV network at HowlRound.TV this Monday, July 14 through Thursday, July 17. What is the state of intellectual property? What are the rights of theatre artists and new work? The complete #RightsWeek series will include these four livestreamed panel discussions, five essays and blog posts on HowlRound, and live tweeting throughout the week including a real-time Twitter chat on Thursday, July 17. To participate in these four livestreamed panel Q&A's, watch HowlRound.TV, follow @MrSamuelFrench, @HowlRound, and use hashtags #RightsWeek and #howlround. Alternatively, you can watch the livestreams and comment using Samuel French's Facebook page.
Creativity and collaboration both rely on trust and on the work of other people. But the law seeks to make the murky concrete, and the complicated simple. This is why we should keep our understanding of piracy (and for that matter, plagiarism) to the very clear cases when scripts and designs are used without their creators’ permission.
Technological innovation is outpacing labor protections, and theatre is not immune to this phenomenon. Kate Brennan, Rachel Anderson-Rabern, and David Lee White discuss what’s at stake when we decenter humans—especially playwrights—to embrace large language models (LLMs) and other artificial intelligence (AI).
