For this week’s discussion, begin by reading this play: Dont Change the Words.pd

For this week’s discussion, begin by reading this play: Dont Change the Words.pdf
Don’t worry, it’s a very short script.
Background: Dramatist’s Play Service is an agency that handles royalties for amateur productions of many popular plays. DPS hired well known playwright David Lindsay-Abaire to write a brief play that would address the sometimes complex contractual language that goes with doing a production of a play. The intent was to present the subject in a manner that is fun and understandable.
Some facts about producing plays:
Unlike screenwriters, playwrights retain ownership and control of the plays they write.
When plays are performed a fee, known as a royalty, is paid by the producing organization to the playwright. This usually happens through an agent. This contractual process is called licensing.
Any performance of a play for an audience requires a royalty payment to its author. This is how authors earn their living.
Even when audiences are not charged money to see a show, the royalty payment is still due.
Royalties are due for each scheduled performance.
Many plays that are very old fall into the “public domain” and may be performed without a fee. Shakespeare for example.
Plays that are in public domain may be changed or adapted into new versions. Charles Dickens’ A Christmas Carol for example. However, the new version would require licensing like any other play.
So..
Can you think of a circumstance where you have seen a performance that may not have been licensed?
Have you seen or perhaps participated in a show where the producer/director altered the content?
What is the rationale for the requirement that the show not be changed, edited, or revised without the author’s consent?
The play in the link above suggests that understanding of intellectual property rights is not widespread, even among people that create theatrical productions. Should intellectual property law be taught in schools?
How do issues of intellectual property turn up in other areas of the arts beyond theater?
How does intellectual property law support or hinder progress in the arts?