On Originality and Copyright In Theatre

Deepa Punjani

In the case of D 9-2-12, there has been talk of scene-to-scene "copy". But there are other questions to contend with such as the production's Hindi translation/adaptation (original) and staged adaptation to the extent of elements like its live jazz band (original). I use the word 'original' strictly in view of the provisions of The Indian Copyright Act, 1957.

The law, I believe, helps clarity and avoids obfuscation in conversations like these that also tend to become opinionated.

Besides, if anyone should have an issue with D 9-2-11, it is the people with whom the copyright for the Hitchcock film resides, or the other theatre production/s based on the movie (provided they have copyrighted their production), if they think The Company Theatre has "copied" their work.

This is a complex issue with no easy answers.

Copyright is important. But it is still evolving we might say in our context vis-á-vis the play script and its stage avatar. There is a recent case that must be highlighted. It is interesting for two reasons: a theatre director stakes a copyright claim for his production, and second, the suit is decreed on the basis of a settlement without a ruling on the merits of the case.

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On Originality and Copyright In Theatre

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