Book contents
- Negotiating Copyright in the American Theatre: 1856–1951
- Cambridge Intellectual Property and Information Law
- Negotiating Copyright in the American Theatre: 1856–1951
- Copyright page
- Contents
- Figures
- Tables
- Acknowledgments
- Introduction
- Part I Mediating the American Theatre
- 1 Copyright and the Facilitation of Theatrical Production
- 2 The Publisher’s Unpublished Empire
- 3 The Enduring “Piratical” Pursuits of Alexander Byers
- 4 Brokering Theatre
- 5 Negotiating Playwright Integrity
- Part II The Organizational Response
- Bibliography
- Index
- Cambridge Intellectual Property and Information Law
4 - Brokering Theatre
from Part I - Mediating the American Theatre
Published online by Cambridge University Press: 23 December 2021
- Negotiating Copyright in the American Theatre: 1856–1951
- Cambridge Intellectual Property and Information Law
- Negotiating Copyright in the American Theatre: 1856–1951
- Copyright page
- Contents
- Figures
- Tables
- Acknowledgments
- Introduction
- Part I Mediating the American Theatre
- 1 Copyright and the Facilitation of Theatrical Production
- 2 The Publisher’s Unpublished Empire
- 3 The Enduring “Piratical” Pursuits of Alexander Byers
- 4 Brokering Theatre
- 5 Negotiating Playwright Integrity
- Part II The Organizational Response
- Bibliography
- Index
- Cambridge Intellectual Property and Information Law
Summary
American playbrokers – agents of playwrights – added another layer of mediation to the theatrical landscape in the second half of the nineteenth century and the first decades of the twentieth century. Recent theatre scholarship has highlighted the role that pioneering theatrical agents like Alice Kauser played in developing transatlantic business.1 Playbrokers also shaped industry bargaining and contractual standards in the United States. The brokers, like the first mediating publishers, sought control over various processes and objects in the space between the author and audience. Such objects included printed and published dramatic scripts, rehearsal prompt scripts, advanced royalty notices, and accounting processes. Further, these brokers, like French and his associates, influenced the production process by forming personal relationships of trust with other mediating stakeholders in the industry.
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- Negotiating Copyright in the American Theatre: 1856–1951 , pp. 83 - 101Publisher: Cambridge University PressPrint publication year: 2022