This paper challenges the present legal system that prioritises the
moral rights of the playwright and their sole ownership of a
dramatic work. Recent public disputes between copyright holders and
production companies, over royalties, collaboration and the freedom
to interpret a text, have led to a growing chorus arguing for the
acknowledgement of non-writer collaborators and reform of the law
to specifically address dramatic authorship. The author interviews
a group of notable Australian practitioners to illustrate the
complexity behind the creation and ownership of a theatrical work,
and suggests industry-based customary agreements, under the current
copyright regime, are a more productive way to sustain harmonious
collaborative relationships.
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