Owning William Shakespeare : The King's Men and Their Intellectual Property / James J. Marino.

Other records:
Marino, James J., author.
Philadelphia : University of Pennsylvania Press, [2011]
Material texts.
Material Texts
1 online resource (211 p.)
Shakespeare, William, 1564-1616 -- Stage history -- To 1625.
Shakespeare, William, 1564-1616 -- Criticism, Textual.
Shakespeare, William, 1564-1616 -- Authorship.
King's Men (Theater company).
Chamberlain's Men (Theater company).
Intellectual property -- England -- History -- 16th century.
Intellectual property -- England -- History -- 17th century.
Transmission of texts -- England -- History -- 16th century.
Transmission of texts -- England -- History -- 17th century.
Repertory theater -- England -- London -- History -- 16th century.
Repertory theater -- England -- London -- History -- 17th century.
Theatrical companies -- England -- London -- History -- 16th century.
Theatrical companies -- England -- London -- History -- 17th century.
Electronic books.
Copyright is by no means the only device for asserting ownership of a work. Some writers, including playwrights in the early modern period, did not even view print copyright as the most important of their authorial rights. A rich vein of recent scholarship has examined the interaction between royal monopolies, which have been identified with later notions of intrinsic authorial ownership, and the internal copy registration practices of the English book trades. Yet this dialogue was but one part of a still more complicated conversation in early modern England, James J. Marino argues; other customs and other sets of professional demands were at least as important, most strikingly in the exercise of the performance rights of plays.In Owning William Shakespeare James Marino explores the actors' system of intellectual property as something fundamentally different from the property regimes exercised by the London printers or the royal monopolists. Focusing on Hamlet, The Taming of the Shrew, King Lear, and other works, he demonstrates how Shakespeare's acting company asserted ownership of its plays through intense rewriting combined with progressively insistent attribution to Shakespeare. The familiar versions of these plays were created through ongoing revision in the theater, a process that did not necessarily begin with Shakespeare's original manuscript or end when he died. An ascription by the company of any play to "Shakespeare" did not imply that it was following a fixed, authorial text; rather, Marino writes, it indicates an attempt to maintain exclusive control over a set of open-ended, theatrically revised scripts.Combining theater history, textual studies, and literary theory, Owning William Shakespeare rethinks both the way Shakespeare's plays were created and the way they came to be known as his. It overturns a century of scholarship aimed at re-creating the playwright's lost manuscripts, focusing instead on the way the plays continued to live and grow onstage.
Chapter 1. Secondhand Repertory: The Fall and Rise of Master W. Shakespeare
Chapter 2. Sixty Years of Shrews
Chapter 3. Hamlet, Part by Part
Chapter 4. William Shakespeare's Sir John Oldcastle and the Globe's William Shakespeare
Chapter 5. Restorations and Glorious Revolutions
Works Cited
Bibliographic Level Mode of Issuance: Monograph
Includes bibliographical references (p. [179]-193) and index.
Description based on online resource; title from PDF title page (publisher's Web site, viewed 08. Jul 2019)
Publisher Number:
10.9783/9780812205770 doi
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