have the newer markets that have cropped up while the basic structure remains the same since the laws havent seen a big change the processes in dealing with remake rights have been more streamlined is what one can noticetheatrewhen it comes to intellectual property rights the two primary factors that need to be considered are whether the content is available in public domain or the rights of it are held by someone whose property is it anyway it is important to seek the answer to this question ahead of adapting a story from a book to stage or making another version of a classic drama more than the legal implications the bigger question in the arts has always been what are the ethics of copyrights that one should always follow often the stories written by established authors and playwrights many centuries ago for instance the shakespearean classics as well as some of the folklores are easily available but again if the rights are held by someone the concerned person may even have a say on how much of the story can be adapted to stage and in what manner there are times when a theatremaker may come across another version of the play and be inspired by it or want to adapt a foreign script to a local context the discourse on rights can go on but the best and responsible way around it is to give credit wherever required this rule remains the same for the music and background score used in a play says rebecca spurgeon the artistic director of jagriti who has devised and directed popular adaptations metamorphosis and panchatantra retold musicshyam chabria partner of an audio recording label says intellectual property rights ipr is similar to buying a property when producers transfer the rights to us then that song belongs to us if someone wants to use these songs they need to ask us theres an agreement that is signed and we ask them to use itbut what about when singers perform songs during a live concert we dont stop singers from performing at an event all they singers need to do is follow up with the event management company whether they have procured the rights or not singers are using songs that are written and composed by someone else they are paid for performing at that particular event but what about the lyricist and the composer who have also contributed to the song thats when ipr comes into picture says shyam adding the event management company needs to take necessary permissions we are not paid when singers perform at live concerts if the necessary permissions are taken in advance its justified because then the music composer lyricist and the content owners also get their share