International Association of Libraries and Museums of the Performing Arts
Société Internationale des Bibliothèques et des Musées des Arts du Spectacle
Workshop audiovisuals
La documentation au service de la diffusion culturelle des arts du spectacle, plus particulièrement en Amérique du Sud, en Afrique, en Moyen Orient et en Extrême Orient
Documentation in the Service of the Cultural Diffusion of the Performing Arts, especially in South America, Africa, the Middle East and the Far East
XIIIèeme Congrès international / XIIIth International Congress
Seminaris i Congressos
Barcelona 1978, pp. 73-74The
workshop discussed various aspects of the use of audiovisuals. Time was
too
short to go over all the problems.
a) The workshop
regrets that a great quantity of unique object is lost for the future
even
nowadays. Soon, some old folkloristic plays won't even exist anymore.
Also, new
experiments all over the world, in festivals and elsewhere happen
without being
recorded. All theater museums and libraries should be aware of this; if
they
are not able to make or order the recordings themselves on sound tape,
slides,
videotape or film, they should get in contact with the radio and
television
companies etc. to obtain a guarantee to keep a taping of the
performance.
SIBMAS
should ask the International organizations involved in this problem
e.g., the
European Broadcasting Union, to pay attention in their
congresses, etc. to
the responsibility they have in this field.
b) In
order to decide what sort of taping should be made, one should always
think of
the precise aims one has: 1) Conservation, 2) broadcasting or 3)
educational
use.
General
rules for this cannot be given.
It was
pointed out in the workshop that the soundtape deserves greater
attention than
it has received after the arrival of videotape. The soundtape is always
a
useful basic document, and also should be used with video and film.
The
workshop realised that recordings made in a studio carry the danger
that the
dramatic expression as such gets distorted or can be manipulated.
In any
case, the recordings should be accompanied by elaborate documentation,
not only
about the technical aspects of the taping, but above all, about the
circumstances in which the play was produce.
All
those who are involved in making taping should be informed of the
wishes that
researchers have concerning this documentation. SIBMAS should
distribute a
model for all these matters.
c) A
big problem for showing tapes to the public are the rights, not only of
the
playwrights, but also of all people involved. This goes for the taping
of
plays, for the copying of radio and television productions, for the
registration of folkloric performances, ear.; but also for the
international
exchange of materials.
The
legislation in the field of authors' rights is still developing and in
the
various countries there are different rules.
SIBMAS
should ask its members and also the other theatre museums and
librairies to
deliver a report before the next congress, about the situation in their
own
country, and about their own practice and experiences.
Studying
and comparing all these reports can be a starting point for further
activities.
Though our problem is not quite identical with that of other
organisations,
cooperation of SIBMAS with other international organisations (like the
International Association of Sound Archives) facing this problem, would
be
desirable.
In
order to continue the discussions, and to make possible constant
cooperation
and an exchange of ideas and materials, within SIBMAS, and also of
SIBMAS with
other organisations, it would be advisable for SIBMAS to create a new
standing
committee on audiovisuals in the theatre-museum or theatre-library.
02/09/04
Information about this site: Maria Teresa Iovinelli, Secretary General