Shakespeare, the Globe Company, and the Battle Against Playpiracy: Dealing with Unauthorized Performances and Revisions

Introduction

As a renowned English playwright and actor, William Shakespeare's works have captivated audiences for centuries. However, much of the discourse surrounding his time often includes assumptions about plagiarism and unauthorized performances. This article aims to explore these assumptions, debunk myths, and shed light on how Shakespeare's company, the Globe Theatre, dealt with potential issues of playpiracy.

Shakespeare's Career and Affiliations

William Shakespeare was not just a solitary genius; he was a member of several companies throughout his career. The most prominent among them was the Lord Chamberlain's Men, which later became the King's Men upon the ascension of King James the First. This company was the brainchild of the Burbage family, and during Shakespeare's active years, they were exclusively associated with the Globe Theatre for approximately nine years, despite there being a two-year hiatus due to the plague.

Understanding Playpiracy in Elizabethan England

It is crucial to understand the lack of copyright laws during Shakespeare's time. In this era, there was no concept of modern-day plagiarism. Exclusive printing rights were recorded in the Stationer's Register, but these were separate from the performance rights. Playwrights would typically sell their plays to a theatre, which could then use the works as they saw fit. This framework meant that there was no formal legal protection for the original author.

Case Study: The True Tragedie of Richard Duke of York

One of the closest instances of a potential unauthorized performance of a Shakespearean play is the play titled "The True Tragedie of Richard Duke of York," an octavo small paperback. This work is believed to be a version of the play in the Folio that we now call "Henry VI Part 3." The play was attributed to the Lord Pembroke's Men, a company that disbanded in the early 1590s. While the Lord Chamberlain's Men did perform "Henry V" and referenced the "Henry VI" story, there is no clear evidence that the Lord Pembroke's Men staged a performance of this play.

Print Rights vs. Performance Rights

Another issue that arose was the fluidity of titles. For example, when Shakespeare’s "Henry V" was first printed, it was entitled "THE CRONICLE HISTORY OF HENRY THE FIFTH WITH HIS BATTLE FUGHT AT AGIN COURT IN FRANCE. TOGETHER WITH AUNTIENT PISTOLL." This case highlights the ambiguity surrounding the rights to print and perform plays, making it difficult to enforce any form of legal protection.

The Memorial Reconstruction Theory

A now-debunked theory suggesting that actors could reconstruct entire plays from memory posthumously has been floated. However, a more plausible scenario is the case of Shakespeare's "Hamlet." The earlier versions of "Hamlet" (Q1 and Q2) illustrate how a company might respond to unauthorized reconstructions. Q1 of "Hamlet" was published in 1601, bearing minimal resemblance to the canonical text. About a year later, Q2 appeared with more fidelity to the final version, accompanied by a note indicating that it included "almost as much againe as it was according to the true and perfect Coppie."

Strategies Employed by the Globe Company

While there were no formal mechanisms to prevent unauthorized performances, the Globe Company likely employed a combination of direct action and social pressure to address any potential issues. For instance, the company might have sent representatives to watch performances and ensure that any unauthorized versions were not used. Additionally, the social and professional networks within the theatre community may have exerted pressure against infringing parties.

Conclusion

Although there were no formal copyright laws to support their rights, the Globe Company and other theatres of Shakespeare's time had no shortage of strategic responses to unauthorized performances and reconstructions. Through a combination of social norms and direct action, they navigated the challenging landscape of playpiracy, ensuring the integrity of their works while leveraging the collaborative nature of the theatre industry.