Authorial Intent

Dramatists are property owners who license their work to producers. Unlike their counterparts in the film and television industries, dramatists chose property ownership and the right to safeguard the artistic integrity of their work over the right to unionize.

While today, “creative approval” (which grants the author approval overall creative elements) and “script approval” (which prevents any changes to the play, including changes in the text, title, and stage directions) are industry-standard terms, there is no shortage of people willing to test the limits of these rights.

Authors must therefore constantly monitor productions and speak up if they see something happening that violates their authorial intent. As Doug Wright, former president of the Dramatist’s Guild stated in an open letter “One may agree or disagree with the views of a particular writer, but not with his or her autonomy over the play. Nor should writers be vilified or demonized for exercising it. This is entirely within the well-established theatrical tradition; what's more, it is what the law requires and basic  professional courtesy demands.” [Here for full text.]

When an author passes away, the role of safeguarding the copyright passes to the person who inherits (or is charged with managing) the copyright. This can be quite challenging if this person isn’t familiar with the author’s work or their authorial intent.

Authors should therefore consider leaving statements of authorial intent or otherwise chronicling the long-term vision for their work.  They must equip whoever they entrust their work to stand in their shoes. When crafting a statement, pay special attention to things like changes in casting (gender and race) and location.  Let your executor know if you would allow changes to be made to your work as societal norms change or would you like your play presented as written.

Here are some additional considerations:  

• Themes - Is there one (or more) overarching ideas or themes that any production of the play must represent and dramatize, regardless of any other aspects of the production?

• Setting - May the work be set in other times and/or places?

• Casting – Is it required to be cast as the characters are specifically described, as related to their race, gender, or other physical characteristics?

• Productions – Are there any specific physical production requirements (e.g., certain sets, lighting, props, costumes, sound, music and/or orchestrations, and/or translations) that must be adhered to in every circumstance? Any stage configuration (in the round, proscenium, etc.) that is always required?

• Script approvals – Are there changes you customarily allow for special audiences (schools, churches, foreign territories)? Are there changes you’ve been asked for that you have continued to reject in every instance?

• Artistic approvals – Are there any specific requirements you have for approval over artistic personnel, including directors, choreographers, designers, cast, as well as orchestrators, arrangers and translators? Any specific parties you specifically disapprove in advance?

• Producers – Are there any particular venues or producers to whom you do not want the work licensed?

• Audiences - Are there particular audiences or markets (theater for young audiences or “junior” versions, concert versions, cut-down versions, churches, schools, community theaters, foreign territories, publications, recordings) you would choose to avoid?

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