Abstract
In the 1860s, liberalization in French law freed the genre from privileged venues. Café-concerts and music halls challenged the hegemony of the boulevard-theatres and made room for a more inclusive audience. The legal changes in the 1860s challenged the definition of the performance and had consequences for how authors’ and composers’ societies collected royalties. What were the consequences of these legal changes for creators in French theatre? Did the legal changes challenge the notion of ownership? Did the legal and economic changes influence creativity in the theatres? This talk grapples with questions of creation, monopoly, ownership, and the performance at stake in litigations involving French author’s society.
Anna Marie Skråmestø Nesheim is Ph.D. candidate in history with a project on performers’ and performance right in French theatre and cinema in the nineteenth and twentieth century. Her thesis project grapples with tension points in the droit d’exploitation (French performance right) in the period of economic and juridical liberalization (1860-1914), and in the emerging decades of mass media (1895-1939). She is part of the larger research-project on Copyright in France that professor Véronique Pouillard holds at IAKH.
Practical Information
This event is open for everyone to attend and will be held on zoom. Join us on Monday the 26th of April at 16:00 CET, by registering.
