Owning William Shakespeare: The King's Men and Their Intellectual Property (Material Texts)

This book explores actors' systems of intellectual property in early modern England. Focusing on __Hamlet__, __The Taming of the Shrew__, __King Lear__, and other plays, James Marino demonstrates how Shakespeare's company asserted ownership of its plays through intense ongoing revision and through insistent attribution to Shakespeare. This book explores actors' systems of intellectual property in early modern England. Focusing on __Hamlet__, __The Taming of the Shrew__, __King Lear__, and other plays, James Marino demonstrates how Shakespeare's company asserted ownership of its plays through intense ongoing revision and through insistent attribution to Shakespeare. Owning William Shakespeare Tells The Story Of Early Modern Drama As Intellectual Property. It Does So With Energy, Urgency, Passion, And Originality: It Points Out Details About Book History And Publication That Have Never Been Articulated Before, Redefining The Field In Important Ways.--tiffany Stern, University College, Oxford. 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 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. --book Jacket. Secondhand Repertory : The Fall And Rise Of Master W. Shakespeare -- Sixty Years Of Shrews -- Hamlet, Part By Part -- William Shakespeare's Sir John Oldcastle And The Globe's William Shakespeare -- Restorations And Glorious Revolutions. James J. Marino. Includes Bibliographical References (p. [179]-193) And Index.

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.

"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." -- Provided by publisher Contents Introduction 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 Notes Works Cited Index Acknowledgments