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Le Chapelier's report, Paris (1791)
Source: N/A
Citation:
Le Chapelier's report, Paris (1791), Primary Sources on Copyright (1450-1900), eds L. Bently & M. Kretschmer, www.copyrighthistory.org
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4
The Dramatic Authors ask for the destruction of the exclusive privilege which
places in the Capital one sole Theatre where they are forced to address themselves to
those who have composed Tragedies or Comedies of a high standard; they demand
that the Comedians linked to this Theatre would no longer be, neither by right, nor by
fact, the exclusive owners of the masterpieces which have enlightened the French
Scene; & soliciting for the Authors & their heirs or cessionaries the entire property of
their Works during their life & five years after their death, they recognise & even
invoke the rights of the public, & they do not hesitate to confess that after the delay of
five years, the Works of the Authors are a public property.
The Comedians commonly known under the name of French Comedians,
allow themselves to agree that there cannot exist any longer an exclusive privilege, &
they go as far as confessing that another Theatre could be established in the Capital
where it will be possible, like in theirs, for pieces to be represented which they have to
this date regarded as their particular domain.
But they maintain to be the sole owners of masterpieces such as Corneille,
Racine, Molière, Crébillon & others, & of all the Authors who, through regulatory
disposition, have, according to the Comedians, lost their property, or who under the
law of an exclusive privilege, have dealt with them.
Such is the debate which you have to terminate by a
No Transcription available.
Source: N/A
Citation:
Le Chapelier's report, Paris (1791), Primary Sources on Copyright (1450-1900), eds L. Bently & M. Kretschmer, www.copyrighthistory.org
Back | Record | Images | Commentaries: [1]
Translation only | Transcription only | Show all | Bundled images as pdf
The Dramatic Authors ask for the destruction of the exclusive privilege which
places in the Capital one sole Theatre where they are forced to address themselves to
those who have composed Tragedies or Comedies of a high standard; they demand
that the Comedians linked to this Theatre would no longer be, neither by right, nor by
fact, the exclusive owners of the masterpieces which have enlightened the French
Scene; & soliciting for the Authors & their heirs or cessionaries the entire property of
their Works during their life & five years after their death, they recognise & even
invoke the rights of the public, & they do not hesitate to confess that after the delay of
five years, the Works of the Authors are a public property.
The Comedians commonly known under the name of French Comedians,
allow themselves to agree that there cannot exist any longer an exclusive privilege, &
they go as far as confessing that another Theatre could be established in the Capital
where it will be possible, like in theirs, for pieces to be represented which they have to
this date regarded as their particular domain.
But they maintain to be the sole owners of masterpieces such as Corneille,
Racine, Molière, Crébillon & others, & of all the Authors who, through regulatory
disposition, have, according to the Comedians, lost their property, or who under the
law of an exclusive privilege, have dealt with them.
Such is the debate which you have to terminate by a
No Transcription available.