1. Stage Directing the First Experiences by Jim Patterson Step One SELECTING THE PLAYSCRIPT

2. Script selection begins with script reading O Read many scripts O Read scripts with a theatrical eye, as opposed to a literary critic’s perspective

3. OVERVIEW SEVEN AREAS SHOULD BE EXPLORED Dramatic merit Director’s personal and intuitive response Suitability to organization and audience Resources available for the production Technical requirements Availability of actors Licensing restrictions

4. GOALS Evaluate the strengths and weaknesses of the script for production using a checklist

5. Must be legally available O Three legal concepts are significant in determining whether a script can be produced-- 1. Copyright 2. Fair use 3. Public domain

6. Copyright O Some forms of intellectual property, including plays, are protected by US and international copyright laws O With works that are copyrighted, permission to perform the play from the author or author’s agent must be obtained in advance O Usually, a royalty must be paid O Directors who alter a copyrighted work without the author’s permission violate the contract and put their performing organization at risk

7. Hands on a Hard Body Theater fight breaks out: TUTS forced to cancel controversial Hands on a Hardbody after legal orderHands on a Hardbody Patterson cites an example of a copyright dispute between the Comedie Francaise and the estate of Tennessee Williams

8. Current productions Current and recent Broadway and off-Broadway successes are usually not licensed immediately for amateur production; their rights are restricted to road companies, regional theatres, and other professional venues. Only after these demands are exhausted will the script be released for school and community use.

9. Fair Use The playscript, or a part of it may sometimes be used for educational purposes in the classroom under the fair used clause of the current copyright law. However, the law is not specific on fair use instead court cases have defined fair use in somewhat contradictory terms…

10. Works in the public domain belong to everyone and are not protected by copyright because the copyright has expired, the rights have been forfeited, or they are inapplicable. The works of Mark Twain, Shakespeare, the King James Bible in the United States, and early silent films are, for example, in the public domain.

11. PLAY SELECTION CHECKLIST AT LEAST SEVEN AREAS SHOULD BE EXPLORED WHEN DECIDING THE SUITABLITY OF A PLAYSCRIPT FOR A PARTICULAR PERFORMANCE SPACE.

12. 1. DOES THE DIRECTOR CONNECT WITH THE SCRIPT?

13. Play selection checklist 2. Do the scripts strengths outweigh its weaknesses?

14. 3. Is the script suitable for those that will most likely see it?

15. 4. Are the production circumstances suitable for the script?

16. Play selection checklist 5. Can the script be successfully presented in the intended space?

17. 6. Can the script be cast effectively?

18. Play selection checklist 7. Is the script available for production?

19. Assessment If the answer to any of these questions is negative, the best advice for the director is to look for another script.

20. Web connections for more…information about theatre in America The Dramatists Guild of America

21. Company URLS Actors Theatre of Louisville Lincoln Center Theatre The Guthrie Theatre The Seattle Rep

22. Publishing Houses O Dramatic Publishing Company Dramatic Publishing Company O Dramatists Play Service Dramatists Play Service O Electronic texts Electronic texts O Play database Play database O Playscripts Inc. Playscripts Inc. O Samuel French Samuel French O Broadway Play Publishing Broadway Play Publishing