'This paper challenges the present legal system that prioritises the moral rights of the playwright and their sole ownership of a dramatic work. Recent public disputes between copyright holders and production companies, over royalties, collaboration and the freedom to interpret a text, have led to a growing chorus arguing for the acknowledgement of non-writer collaborators and reform of the law to specifically address dramatic authorship. The author interviews a group of notable Australian practitioners to illustrate the complexity behind the creation and ownership of a theatrical work, and suggests industry-based customary agreements, under the current copyright regime, are a more productive way to sustain harmonious collaborative relationships' (Publisher's website)
