When fraternity brother Manuel M. Martell ’47 generously gave his consent for the Upsilon Sigma Phi Los Banos Alumni Association, Inc. (USPLBAAI) to publish his four theatre plays as a fund raising activity, the USPLBAAI, requested me to communicate with brod Mart for him to formalize his consent. A few weeks after I e-mailed brod Mart about it, I picked up a package from Johnny Air Cargo Inc. in SM Mega Mall from him. It contained a red-ribboned acknowledgement of the Consulate General of the Philippines based in New York of a Special Power of Attorney appointing me as brod Mart’s representative. As such, in his own handwriting, I am authorized to publish and market his theatre plays into a book and to apply for copyright of the plays with the appropriate Philippine government agencies.
For those who have heard the name Manuel M. Martell for the first time, brod Mart, as he is fondly called among us Upsilonians, is always considered as one of the most prolific Upsilonian trio of Ted Yabut, Dick Zamora and himself who were responsible for creation of a musicale titled Aloyan which became very popular in 1958 not only inside UP campus but nationwide when it made a campus tour. For the latest batches of Upsilonians, if you had already heard the song “When You’re Away” being sang during our fellowships and most popularly during funerals of our departed brods, brod Mart wrote the lyrics of the song.
Brod Mart had written four plays, two of which won Palanca awards. “The Undiscovered Country” won 2nd Prize in the 1972 Carlos Palanca Memorial Awards for Playwriting in English. “Like The Days of a Hireling” won Special Prize in the 1976 Carlos Palanca Memorial Awards for Playwriting in English. “The Best of Friends” was presented in New York City in 1989 by the Lahi Philippine Performing Company. The fourth play is titled “Lettuce Pickers Don’t Have Children”.
Last 26 March 2008, I asked permission to go on a half day from my office work and I went to the Copyright Office for the first in my life. It is located at the 5th floor of the NationalLibraryBuilding along T.M. Kalaw Street in Luneta, Manila. Strangely, for a Philippine population of 87 million Filipinos, I was the only person being attended to by the staff of the Copyright Office that hot afternoon. Strange because I imagined that at 2:00 p.m., there would be many writers, inventors, composers other creators who would be falling in line to have their works copyrighted. Now, we heard a lot of our composers and filmmakers crying that their works are pirated. Have they copyrighted their works in the first place?
Having one’s work copyrighted is plain and simple. Since I was the only person at the time, the staff told me that I need to have two copies of each of the theatre play, fill up (typewritten only) an application form for each play, have it notarized by a notary public, buy 2 pieces of 10 peso documentary stamp to be attached for each application form. Since I only had one copy of the plays and the application form must be filled up typewritten and must be notarized, I was not ready to submit then.
After complying with the requirements, I went half day again from my office last Wednesday 02 April 2008 and returned to the Copyright Office. Again, I was the only person applying for a copyright at that time! The staff reviewed the documents and told me that the copies of the plays should have been book bind! I insisted that they did not tell me that it must be so the first time I came. I bought a butterfly clip to hold the copies. The staff agreed and asked me to pay at the Cashier’s Office. After paying P200.00 per play for a total of P800.00, the staff gave me a claim stub. She told me that I can claim the copyright of the plays after one month.
I encourage the writers, composers, designers and inventors out there to have your works copyrighted under your name for your own protection under R.A. 8293. It is easy and simple and most importantly “walang pila”!
2 Responses to “Copyrighting a Theatre Play”
Egay! Thank you for your “beyond the call of duty” efforts. Your experience with the staff at the Natl. Library, in a small way, seems to reflect the kahirapan at pagdurusa that is inflicted on anyone who has to deal with staff in some government offices. I must hasten add that my impression of the SSS staff was, on the other hand, very favorable, in contrast to other govt. offices – like your travails in getting your passport renewed. I get the impression that the people in those offices do not seem to be coordinated; so you get incomplete or even conflicting advice to what’s suppose to be done to comply with their paperwork requirements. Sometimes I wonder if this is not just their way of having an ego- or power-trip. Or maybe they are so underpaid and under-appreciated thay they take it out on the helpless citizen.
But you are right to point out that our writers, composers and other artists should be aware about their need for their works to be copyrighted and renewed when the copyright period expires. The Rodgers & Hammerstein “South Pacific” which is now restaged here in Broadway in New York City has always kept itself in copyright protection by the heirs of that famous team. You will recall that they are the same team who gave the world such memorable musicales like “Carousel,” “State Fair,” “Oklahoma!,” “The King and I” and “The Sound of Music.”
Perhaps you can help encourage our artists in this regard.
” be joyful when you reach the top”
by kuya paulo coelho
(as if close po kami…)
“cry, clap your hands, shout out loud that you made it; let the wind (because it is windy up there) purify your mind, cool your hot, weary feet, open your eyes, blow the dust out of your heart. what was once only a dream, a distant vision, is now part of your life. you made it, and that is good.”