中国舞蹈著作权问题及对策研究
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摘要
按照法律经济学的观点,任何法律制度本质上是一种公共利益的平衡机制。以各类著作权为范例的诸多法律、法规和判例的存在价值在于促使艺术界利益的合理分配；反之,随着文化产业的发展,实践中出现的各种具体问题又为其立法带来新的补充与依据。虽然各国都有相当数量的法律条文以及法规、判例来规范艺术创作、交流、传播和使用等各个环节,但主诉对象除了像音乐、电影、美术等受众广泛的艺术门类具有更精深的理论与法学研究交替互佐外,其它产业化与国际化程度偏低的艺术门类(以舞蹈为典型代表)除了普适性、框架性、共通性的宏观法律法规条文外,缺乏全面系统的著作权相关理论与学术研究,更难以于现实操作层面上建立起一套独立性、针对性、适应性强的保护体系。
据此,本文采用多学科结合的研究方法,运用法学与舞蹈学的相关理论相结合的方法,通过案例分析与对象比较,对现有舞蹈著作权案例中呈现出的核心法学概念与当代舞蹈艺术创作相关问题进行交叉研究,从而廓清舞蹈著作权保护中的相关法律概念与内涵,同时,针对舞蹈著作权现状与制度的不足,进行尝试性的制度建设,并以此为基础,提出舞蹈著作权鉴定与保护的原则性方案与提议。本文共分五章展开论述。
第一章重点分析舞蹈著作权的主客体对象问题。就客体对象而言,本文通过揭示现有的《中华人民共和国著作权法》与《中华人民共和国著作权法实施条例》中有关“舞蹈作品”法律内涵不足的缺陷,从舞蹈本体研究的视角,通过电影作品的构成要素与舞蹈作品的构成要素进行借鉴性比拟与分析,推导出舞蹈作品是以形式要素总和的形态作为作品的终极形态呈现之结论；此外针对舞蹈创作的不同样式与形态,对舞蹈作品类型进行细分以寻求其法律适用性；最后,就舞蹈著作权主体的认定,提出不同创作主体的权利归属,并借用电影制片人制度,就“出品人”这一在现实创作模式中冥冥存在却含糊不清的著作权主体模式,进行其适用性分析并加以制度上的完善。
第二章与第三章分别论及了著作权保护的两个重要原则：“思想／表达之二分法原则”与“独创性原则”。针对运用“二分法原则”认定舞蹈作品表达的独创性的适用性问题进行反驳,通过分析舞蹈表达的复杂性,提出表达加之思想的多重认定方法。并在此原则基础上分析舞蹈表达的“实质性相似”的核心观念,否定由舞蹈动作设计判定作品的实质性相似这一鉴定路径的合理性。进而转入第三章中,对这种“通过动作设计体现独创性”的偏颇观点进行纵深阐述,得出舞蹈作品对于“舞蹈动作的非独创性”的创作要求,最终确立舞蹈表达的独创性是建基于三重路径基础之上,即诗性的表达、逻辑的表达与镜像生成。并通过总结舞蹈作品在创作过程中实现其独创性的表达的三种体现模式,即由形式要素、形式要素总和与形式内涵三位一体共同构成舞蹈表达的独创性的不同样式。最后在三个表达要件基础前提下进一步认定了舞蹈作品名称与作品形成的新范畴内的独创性认定。
第四章重点论述舞剧作品的著作权保护问题。舞剧是舞蹈作品的一个主要类型,同时也是案例多发的一个作品类型,更是产业化程度相对比较充分的一个类型,对于舞剧作品作为著作权客体对象进行研究,必然从艺术创作与法学保护建设的双重视角对整个舞蹈艺术产生举足轻重的意义。本章从案例事实出发,就舞剧作品作为著作权客体对象保护的向度进行破解,在现有法律偏颇的框架内,提出舞剧表达的主体构成要素是舞蹈,并阐明舞剧表达的核心价值观,即以舞蹈为主体表达手段辅以其它艺术手段,完成带有双重构建路径的符合舞蹈作品的独创性表达,是舞剧创作具有独创性的本质内涵。
最后,本章尝试性提出关于舞蹈作品侵权认定的一些建设性原则和方法是具有理论与制度上的创新性的,同时借鉴电影著作权激励制度,从舞蹈创作的激励制度上进行分析,主张配平现有的激励机制,从而达至以著作权制度为主、以行政激励手段为辅的调和状态。
本论文的研究主旨在于力图填补国内舞蹈著作权制度研究领域的空白,通过有针对性地对舞蹈著作权相关权利及具体保护制度进行系统研究,揭示著作权法等各类法规中简单法律条文背后的深层涵义,为著作权法的正确适用和妥善解决国内舞蹈著作权利纠纷提供法律及理论支持。并在此基础上,分析于国内舞蹈创作所面对的包括行政激励机制在内的复杂创作环境中,如何进行制度的创新,并期盼为构建国内舞蹈著作权保护体系作出理论建构。
According to the viewpoint of legal economics, any legal regime is essentially the balance mechanism of public interest, the existence value of many laws, regulations and legal precedents with copyrights as a model lies in urging the rational distribution of benefit in the artistic circle. Whereas, along with the development of the cultural industry, many concrete problems appear in the practice and bring new supplement and basis for its legislation. Although considerable amounts of legal provisions, regulations and legal precedents in various countries standardize the artistic creation, exchange, dissemination, use and other circulation links, but as for the principal claim objects except music, movie, fine arts and other art categories with widespread audiences, profounder theory and legal science research assists mutually. As for other lower industrialized and internationalized art categories with dance as a typical representative, there are only the universal, framework, common macroscopic law and regulation articles, there lacks the comprehensive systematic theoretic and academic research related with copyright, a set of independent, well-directed and strongly compatible protection system can not be established at the actual operation level at all.
Accordingly, the interdisciplinary research methods such as the research technique combining the legal science methodology and dance, case analysis and object comparison were used in this article, the overlapping research was conducted on the core legal science concept and the dance artistic creation principle presenting in the dance copyright case, the connotation of the related legal concept in the dance copyright protection was cleared, moderate institutional construction had been carried on in view of the insufficiency in the current dance copyright system, the concrete method of dance copyright appraisal and protection was proposed on this basis. This article is divided into five chapters.
In the first chapter, the subject and object problem in dance copyright was analyzed. Speaking of the object, the insufficiency of existing Copyright Law and Rule in our country in view of the connotation of dance work law was revealed. Then, from the perspective of the research on the dance ontology, through the analysis of constituent elements of dance works by learning from those of movie work, it was inferred that the dance work was expressed with the shape of the total sum of the shape elements as the ultimate shape of the works. In addition, the dance work type was subdivided according to the dance creation shape and the legal serviceability was sought. Finally, as for the recognition of dance copyright subject, the right ownership of different creation subjects was proposed, and the new copyright subject pattern of "producer" was proposed and perfected from the system by borrowing the movie producer system.
The second chapter and the third chapter separately dealt with the principle applicability of the "thought and expression" dichotomy in the copyright protection principle of the dance works. Through the analysis of dance expression complexity, the "expression+thought" multiple recognition path method was proposed. And the core idea of substantive similarity in dance expression was analyzed on the basis of this principle, the determination of work substantive similarity by the dance movement design was denied, and the non-original request of dance works for the dance movements was obtained. In the third chapter, this argument that originality is not manifested in the movement was elaborated in depth, namely, the originality of dance expression was established on the basis of the tertiary path, and poetic expression, logical expression and mirror image production was proposed. And through summarization three ways of realizing originality of the dance works were obtained in the creation process. The shape elements, total essential factors and form connotation constituted the essentials of dance expression together. The originality recognition of the dance work name and the work form in the new category was further recognized by three expression essentials.
In the fourth chapter, the copyright protection matter was proposed in view of the ballet works. Ballet works is a predominant type of dance work; simultaneously it is also a work type on which cases often occur; it is, on the other hand, the most industrialized type. Conducting research on the ballet works as the copyright object inevitably has the pivotal significance in the dual angles of view of the artistic creation and the legal science protection construction of the entire dance art. In this chapter, starting from the case fact, what was protected for ballet works as the copyright object was explained, it was proposed in the existing legal biased frame that the main integrant constituent elements of ballet expression was dance, and the core values expressed by the ballet was expounded, namely, the completion of the original expression conforming to the dance work with the dual construction ways with the main expression method of dance and other art method is the original essential connotation of the created ballet.
Finally, the countermeasure was given and a protection system in view of the dissemination management stratification layer was conceived and initially constructed. This chapter attempted to propose some constructive principles and methods about the dance work right infringement recognition, which is theoretically and systematically innovative, simultaneously conducted analysis on the drive system of dance creation by learning from the movie copyright drive system, advocated balancing the existing incentive mechanism, thus reached the well distributed condition with the copyright system as the primary factor and the administration incentive means as the auxiliary factor.
The primary research intention of the present paper lies in trying to fill the gap in the research area of the domestic dance copyright system, through the well-directed systematic research of the right related with dance copyright and the concrete protection system, revealing the in-depth implication behind the simple law provision in kinds of laws and regulations such as the copyright law, providing the law and the theoretical support for the proper application of the copyright law and the adequate solution of the domestic dance copyright dispute. And on this basis, it is analyzed that how system innovation is carried on in the complex creation environment that is faced in the domestic dance creation including the administration incentive mechanism, and it is expected to make the preliminary theoretical construction for the construction of the domestic dance copyright protection system.
据此,本文采用多学科结合的研究方法,运用法学与舞蹈学的相关理论相结合的方法,通过案例分析与对象比较,对现有舞蹈著作权案例中呈现出的核心法学概念与当代舞蹈艺术创作相关问题进行交叉研究,从而廓清舞蹈著作权保护中的相关法律概念与内涵,同时,针对舞蹈著作权现状与制度的不足,进行尝试性的制度建设,并以此为基础,提出舞蹈著作权鉴定与保护的原则性方案与提议。本文共分五章展开论述。
第一章重点分析舞蹈著作权的主客体对象问题。就客体对象而言,本文通过揭示现有的《中华人民共和国著作权法》与《中华人民共和国著作权法实施条例》中有关“舞蹈作品”法律内涵不足的缺陷,从舞蹈本体研究的视角,通过电影作品的构成要素与舞蹈作品的构成要素进行借鉴性比拟与分析,推导出舞蹈作品是以形式要素总和的形态作为作品的终极形态呈现之结论；此外针对舞蹈创作的不同样式与形态,对舞蹈作品类型进行细分以寻求其法律适用性；最后,就舞蹈著作权主体的认定,提出不同创作主体的权利归属,并借用电影制片人制度,就“出品人”这一在现实创作模式中冥冥存在却含糊不清的著作权主体模式,进行其适用性分析并加以制度上的完善。
第二章与第三章分别论及了著作权保护的两个重要原则：“思想／表达之二分法原则”与“独创性原则”。针对运用“二分法原则”认定舞蹈作品表达的独创性的适用性问题进行反驳,通过分析舞蹈表达的复杂性,提出表达加之思想的多重认定方法。并在此原则基础上分析舞蹈表达的“实质性相似”的核心观念,否定由舞蹈动作设计判定作品的实质性相似这一鉴定路径的合理性。进而转入第三章中,对这种“通过动作设计体现独创性”的偏颇观点进行纵深阐述,得出舞蹈作品对于“舞蹈动作的非独创性”的创作要求,最终确立舞蹈表达的独创性是建基于三重路径基础之上,即诗性的表达、逻辑的表达与镜像生成。并通过总结舞蹈作品在创作过程中实现其独创性的表达的三种体现模式,即由形式要素、形式要素总和与形式内涵三位一体共同构成舞蹈表达的独创性的不同样式。最后在三个表达要件基础前提下进一步认定了舞蹈作品名称与作品形成的新范畴内的独创性认定。
第四章重点论述舞剧作品的著作权保护问题。舞剧是舞蹈作品的一个主要类型,同时也是案例多发的一个作品类型,更是产业化程度相对比较充分的一个类型,对于舞剧作品作为著作权客体对象进行研究,必然从艺术创作与法学保护建设的双重视角对整个舞蹈艺术产生举足轻重的意义。本章从案例事实出发,就舞剧作品作为著作权客体对象保护的向度进行破解,在现有法律偏颇的框架内,提出舞剧表达的主体构成要素是舞蹈,并阐明舞剧表达的核心价值观,即以舞蹈为主体表达手段辅以其它艺术手段,完成带有双重构建路径的符合舞蹈作品的独创性表达,是舞剧创作具有独创性的本质内涵。
最后,本章尝试性提出关于舞蹈作品侵权认定的一些建设性原则和方法是具有理论与制度上的创新性的,同时借鉴电影著作权激励制度,从舞蹈创作的激励制度上进行分析,主张配平现有的激励机制,从而达至以著作权制度为主、以行政激励手段为辅的调和状态。
本论文的研究主旨在于力图填补国内舞蹈著作权制度研究领域的空白,通过有针对性地对舞蹈著作权相关权利及具体保护制度进行系统研究,揭示著作权法等各类法规中简单法律条文背后的深层涵义,为著作权法的正确适用和妥善解决国内舞蹈著作权利纠纷提供法律及理论支持。并在此基础上,分析于国内舞蹈创作所面对的包括行政激励机制在内的复杂创作环境中,如何进行制度的创新,并期盼为构建国内舞蹈著作权保护体系作出理论建构。
According to the viewpoint of legal economics, any legal regime is essentially the balance mechanism of public interest, the existence value of many laws, regulations and legal precedents with copyrights as a model lies in urging the rational distribution of benefit in the artistic circle. Whereas, along with the development of the cultural industry, many concrete problems appear in the practice and bring new supplement and basis for its legislation. Although considerable amounts of legal provisions, regulations and legal precedents in various countries standardize the artistic creation, exchange, dissemination, use and other circulation links, but as for the principal claim objects except music, movie, fine arts and other art categories with widespread audiences, profounder theory and legal science research assists mutually. As for other lower industrialized and internationalized art categories with dance as a typical representative, there are only the universal, framework, common macroscopic law and regulation articles, there lacks the comprehensive systematic theoretic and academic research related with copyright, a set of independent, well-directed and strongly compatible protection system can not be established at the actual operation level at all.
Accordingly, the interdisciplinary research methods such as the research technique combining the legal science methodology and dance, case analysis and object comparison were used in this article, the overlapping research was conducted on the core legal science concept and the dance artistic creation principle presenting in the dance copyright case, the connotation of the related legal concept in the dance copyright protection was cleared, moderate institutional construction had been carried on in view of the insufficiency in the current dance copyright system, the concrete method of dance copyright appraisal and protection was proposed on this basis. This article is divided into five chapters.
In the first chapter, the subject and object problem in dance copyright was analyzed. Speaking of the object, the insufficiency of existing Copyright Law and Rule in our country in view of the connotation of dance work law was revealed. Then, from the perspective of the research on the dance ontology, through the analysis of constituent elements of dance works by learning from those of movie work, it was inferred that the dance work was expressed with the shape of the total sum of the shape elements as the ultimate shape of the works. In addition, the dance work type was subdivided according to the dance creation shape and the legal serviceability was sought. Finally, as for the recognition of dance copyright subject, the right ownership of different creation subjects was proposed, and the new copyright subject pattern of "producer" was proposed and perfected from the system by borrowing the movie producer system.
The second chapter and the third chapter separately dealt with the principle applicability of the "thought and expression" dichotomy in the copyright protection principle of the dance works. Through the analysis of dance expression complexity, the "expression+thought" multiple recognition path method was proposed. And the core idea of substantive similarity in dance expression was analyzed on the basis of this principle, the determination of work substantive similarity by the dance movement design was denied, and the non-original request of dance works for the dance movements was obtained. In the third chapter, this argument that originality is not manifested in the movement was elaborated in depth, namely, the originality of dance expression was established on the basis of the tertiary path, and poetic expression, logical expression and mirror image production was proposed. And through summarization three ways of realizing originality of the dance works were obtained in the creation process. The shape elements, total essential factors and form connotation constituted the essentials of dance expression together. The originality recognition of the dance work name and the work form in the new category was further recognized by three expression essentials.
In the fourth chapter, the copyright protection matter was proposed in view of the ballet works. Ballet works is a predominant type of dance work; simultaneously it is also a work type on which cases often occur; it is, on the other hand, the most industrialized type. Conducting research on the ballet works as the copyright object inevitably has the pivotal significance in the dual angles of view of the artistic creation and the legal science protection construction of the entire dance art. In this chapter, starting from the case fact, what was protected for ballet works as the copyright object was explained, it was proposed in the existing legal biased frame that the main integrant constituent elements of ballet expression was dance, and the core values expressed by the ballet was expounded, namely, the completion of the original expression conforming to the dance work with the dual construction ways with the main expression method of dance and other art method is the original essential connotation of the created ballet.
Finally, the countermeasure was given and a protection system in view of the dissemination management stratification layer was conceived and initially constructed. This chapter attempted to propose some constructive principles and methods about the dance work right infringement recognition, which is theoretically and systematically innovative, simultaneously conducted analysis on the drive system of dance creation by learning from the movie copyright drive system, advocated balancing the existing incentive mechanism, thus reached the well distributed condition with the copyright system as the primary factor and the administration incentive means as the auxiliary factor.
The primary research intention of the present paper lies in trying to fill the gap in the research area of the domestic dance copyright system, through the well-directed systematic research of the right related with dance copyright and the concrete protection system, revealing the in-depth implication behind the simple law provision in kinds of laws and regulations such as the copyright law, providing the law and the theoretical support for the proper application of the copyright law and the adequate solution of the domestic dance copyright dispute. And on this basis, it is analyzed that how system innovation is carried on in the complex creation environment that is faced in the domestic dance creation including the administration incentive mechanism, and it is expected to make the preliminary theoretical construction for the construction of the domestic dance copyright protection system.
引文
①1878年由法国著名作家V.雨果等发起成立
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②同上
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① UK-Copyright. Designs and PatentsAct,1988
②刘春田.知识产权法[M].中国人民大学出版社,2002：53
② Sam Ricketson. The Berne Convention for the Protection ofLiterary andArtisticWorks,1886-1986, 1987. Centre forCommercialLaw Stud-ies, QueenMarry College:244.
④韦之.著作权法原理[M].北京大学出版社,1998, 19-20
①作品中的表达与作品之间的实质相似(下)——以两组美国著作权判例为线索[OL]. www.9ask.cn
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①《关于<沙月恨>与<大梦敦煌>异同性比对鉴定报告》(第056号)
①甘肃省兰州市中级人民法院民事判决书(2006)兰法民三初字第010号
②同上
①现代戏剧熊佛西[M].中国戏剧出版社,1985：234
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①参见Robert A. Gorman & Jane C. Ginsburg. Copyright for the Nineties[M]. the Michie Company Law Publishers,1993:720.
①吴汉东等.西方诸国著作权制度研究[M].北京：中国政法大学出版社,1998：41
①根据2010年2月26日第十一届全国人民代表大会常务委员会第十三次会议《关于修改<中华人民共和国著作权法>的决定》第二次修正
②《中华人民共和国著作权法实施条例》,自2002年9月15日起施行中华人民共和国国务院令(第359号)
①毛诗正义·序[M].北京大学出版社,1999
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①保护文学和艺术作品伯尔尼公约(Berne Convention for the Protection of Literary and Artistic Works)简称《伯尔尼公约》
②Ricketson.The Berne Convention for the Protection ofLiterary and ArtisticWorks[M].1886-1986. Centre for CommercialLaw Studies, QueenMarry College.1987:246.
①保护文学和艺术作品伯尔尼公约(Berne Convention for the Protection of Literary and Artistic Works)第十四条之二第二款(b)项
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③保护民间文学艺术表达,防止不正当利用及其他损害性行为国内示范法条(Model Provisions for National Laws on the Protection of Expressions of Folklore against Illicit Exploitation and other Prejudicial Actions)
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⑤郑成思.知识产权文丛(第八卷)[M].北京：中国方正出版社,2002：14
①《中华人民共和国著作权法》第六条规定,“民间文学艺术作品的著作权保护办法由国务院另行规定。
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①金浩.新世纪中国舞蹈文化的流变[M].上海音乐出版社,2007：77
②韦之,凌桦.传统知识保护的若干基本思路.见：郑成思.知识产权文丛：第八卷[M].北京：中国方正出版社,2002：166
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①王伟主编.中国古典舞基本功训练教程[M].北京：高等教育出版社,2004
②同上
①郑成思.知识产权法[M].法律出版社,2003：287
① UK-Copyright. Designs and PatentsAct,1988
②刘春田.知识产权法[M].中国人民大学出版社,2002：53
② Sam Ricketson. The Berne Convention for the Protection ofLiterary andArtisticWorks,1886-1986, 1987. Centre forCommercialLaw Stud-ies, QueenMarry College:244.
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