Javascript must be enabled to continue!
Copyright in the Contemporary Circus Art
View through CrossRef
The article is dedicated to the research of the problems of obtaining and protecting copyright in the circus industry, the problem of plagiarism in circus art, and the problem of professionalism in the circus performing arts. In Ukraine there is no special Law on Circuses. Because of that there are some difficulties with the application of the Law on Copyright to Circus Arts, in particular to the original stunts, acts and show programs created by circus performers and directors. In the EU, copyright issue is also an important factor for circus artists.
The circus performer as a creator of the original act needs legal protection of an individual artistic creation, but it is very difficult to prove and legally justify the individual features of a certain stunt in the circus art. Another performer may bring some small changes to the same trick, and declare it as his original one, and even prove that it differs from the one created by another artist. In the Circus Art, the reproduction and copying of stunts is more in the field of ethics than of legal issues. There is no obvious and quick solution of this problem today.
Institute for Cultural Research of the National Academy of Arts of Ukraine
Title: Copyright in the Contemporary Circus Art
Description:
The article is dedicated to the research of the problems of obtaining and protecting copyright in the circus industry, the problem of plagiarism in circus art, and the problem of professionalism in the circus performing arts.
In Ukraine there is no special Law on Circuses.
Because of that there are some difficulties with the application of the Law on Copyright to Circus Arts, in particular to the original stunts, acts and show programs created by circus performers and directors.
In the EU, copyright issue is also an important factor for circus artists.
The circus performer as a creator of the original act needs legal protection of an individual artistic creation, but it is very difficult to prove and legally justify the individual features of a certain stunt in the circus art.
Another performer may bring some small changes to the same trick, and declare it as his original one, and even prove that it differs from the one created by another artist.
In the Circus Art, the reproduction and copying of stunts is more in the field of ethics than of legal issues.
There is no obvious and quick solution of this problem today.
Related Results
CREATION AND DEVELOPMENT OF THE SCIENCE OF “CIRCOLOGY” IN CONTEMPORARY UKRAINIAN ART CRITICISM: A STUDY OF THE SCIENTIFIC SCHOOL AND ARTISTIC EXAMPLES FROM THE DEPARTMENT OF CIRCUS GENRES AT THE KYIV MUNICIPAL ACADEMY OF CIRCUS AND PERFORMING ARTS
CREATION AND DEVELOPMENT OF THE SCIENCE OF “CIRCOLOGY” IN CONTEMPORARY UKRAINIAN ART CRITICISM: A STUDY OF THE SCIENTIFIC SCHOOL AND ARTISTIC EXAMPLES FROM THE DEPARTMENT OF CIRCUS GENRES AT THE KYIV MUNICIPAL ACADEMY OF CIRCUS AND PERFORMING ARTS
The topic of the research is devoted to the creation and development of the science of “Circology” in contemporary Ukrainian art criticism. Its phenomenon, definition, goals, objec...
Authorship in Croatian copyright legislation from 1846 to 2007
Authorship in Croatian copyright legislation from 1846 to 2007
The aim of this paper is to investigate and present concepts of the author and his/her copyright work in copyright legislation that entered into force in Croatia from 1846 to 2007....
Show “Ovo” of Cirque du Soleil: comparative analyzis of a circus performance and its stage demonstration (scenario, decorations, music, circus genres and characters)
Show “Ovo” of Cirque du Soleil: comparative analyzis of a circus performance and its stage demonstration (scenario, decorations, music, circus genres and characters)
The article will carry out an artistic analysis in the context of circology, namely: comparative and artistic analysis of the show “OVO” of the “Cirque du Soleil”. Research in the ...
The Institutionalization of the Bulgarian Circus between 1944 and 1957
The Institutionalization of the Bulgarian Circus between 1944 and 1957
This article analyzes the process of institutionalization of the Bulgarian circus be-tween 1944 and 1957. The appreciation of circus as “an equal member of the large family of soci...
SPECIFIC FEATURES OF CIRCUS ACROBATICS: POWER ACROBATICS, ANALYSIS OF THE SCENIC METHOD IN THE KIEV MUNICIPAL ACADEMY OF VARIETY AND CIRCUS ART
SPECIFIC FEATURES OF CIRCUS ACROBATICS: POWER ACROBATICS, ANALYSIS OF THE SCENIC METHOD IN THE KIEV MUNICIPAL ACADEMY OF VARIETY AND CIRCUS ART
The article considers the stage method according to the genre "Circus Acrobatics", the technique “Power Duet Acrobatics” in the context of art education of the circus movement. Ana...
Circus Training for Autistic Children: Difference, Creativity, and Community
Circus Training for Autistic Children: Difference, Creativity, and Community
Circus training can benefit children diagnosed on the autistic spectrum and their families. In 2010, as Head Trainer at Flipside Circus in Brisbane, Kristy Seymour developed a meth...
Playing with Copyright
Playing with Copyright
Copyright education has become an important aspect of librarians’ information literacy and scholarly communications activities. These include providing support and delivering teach...
Copyright's Free Speech Burdens
Copyright's Free Speech Burdens
Abstract
This chapter examines more precisely when and how copyright does—and does not—burden speech. We can divide copyright's speech burdens into three distinct, y...

