Naslov
Copyright in Performing arts: What is there to copy?

Autori
Pavlić, Goran

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, sažetak, ostalo

Skup
IETM Zagreb

Mjesto i datum
Zagreb, Hrvatska, 25.10.2012. - 28.10.2012

Vrsta sudjelovanja
Predavanje

Vrsta recenzije
Nije recenziran

Ključne riječi
copyright; ACTA; autonomy; authorship; performance art

Sažetak
The issue of copyright in artistic milieus has been stirring up fierce debates since the very introduction of the problem, at the end of the 18th century. Various aspects of the problem ‒ such as: who is entitled to enjoy privileges of an artwork ; on what ground ; under what conditions ; for how long? – constituted the paramount issue: what is authorship? Although the problem got serious attention, and satisfactory legal solutions were implemented, the complex and confusing nature of the concept remains provocative even today. Moreover, considering recent controversy over possible ACTA ratification and certain subsequent process of enclosure in unprecedented fashion, this kind of problems gained substantial recognition from interested parties, art criticism and art theory included. However, specific performing arts issues in such proposed regime remained somehow on the margin, i.e. one gets the impression that proper critical examination within this field is still missing. Is it due to critical casualness? Or, maybe just the outcome of contingent theoretical and historical conditions dominant in performing arts theory today? It is tempting to point at one factor as the explanatory most fruitful solution, but situation (fortunately?) seems to be far more complicated. In the first place, the term ‘performing arts’ covers vast array of artistic practices, with their distinctive histories, social statuses and respective theories. In a narrower sense, though, one could stress the very process of actual physical performing as a basic feature of all such practices, since no firm, transferable art object results from them. If we accept such definition as valid, in what way, or, in which moment the sheer act of performing becomes artistically relevant? Furthermore, who is to take credit for the onset of artwork? In what manner are rights of those entitled to be enjoyed? Until very recently, the dance as performing art par excellence was not recognized as a subject to copyright due to legal impossibility of determining what precisely constitutes a dance artwork. Therefore, the perplexity of its status and versatile implications of its copyrighting may be a good starting point for deliberation on the status of authorship in performing arts in general. In a more detailed manner, the very legitimacy of claiming authorship over a performance artwork is to be questioned. In this endeavor arguments form 18th century debate will prove essential.

Izvorni jezik
Engleski

Znanstvena područja
Filozofija, Povijest, Znanost o umjetnosti

POVEZANOST RADA