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  • Agree that this is fair use and as a visual, performing and literary artist, this falls into free speech, commentary and critique in its intention and iteration.

  • Carleton Foxx

    This isn’t a dispute about artistic freedom. it’s a dispute about good manners and our obligations to one another in the creative community. I wouldn’t borrow my neighbors rake without asking so why wouldnt I ask before borrowing lines from a play?

    Sure one or two playwrights would have said “no” but finding other material could’ve taken their production whole new even more interesting direction. And the playwrights who said “yes” may have become enthusiastic collaborators or contributed some of their goodwill and audience to the production.

    As creators we have to get over fear of people saying “no”because sometimes the obstacles created by the “no” provide the motivation to make the magic happen.

  • Noodle94

    Is it just luck that she only used white authors? Would we be having this discussion if she used material from George C. Wolfe or August Wilson?

    • GM52246

      Meeker simply took the 10-most produced plays, so the fact that it’s all-white authors could mean any number of things (white plays are more likely to be among the top-ten produced in the U.S.? white playwrights have more economic opportunities to pursue playwriting?), but she didn’t pick and choose.

      P.S. I’m white. And a playwright.

      • Noodle94

        I understand. But would it be racist for a white actor to portray a character of color? And would “fair use” forgive the actor for this racial appropriation?

    • Tom Stewart

      They used the top plays being produced in the 2014-15 season. If Wilson or Wolfe had been part of that, then their work likely would have been included.

    • Matt_Sweeney

      First of all, I agree with my old friend Paul Mullin, on both points.

      But what exactly are you saying Noodles? That George C. Wolfe wouldn’t try and enforce his copyright privileges if he thought they were being violated?

  • Paul Mullin

    It’s fair use. Clearly. And maybe this is where the NYC-centric hub-and-spoke model of American Theatre breaks down: where the rim meets the road.

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