《红色娘子军》著作权纠纷案法理分析

Jurisprudence Analysis of Lawsuit Concerning the Copyright of “Hongse Niangzi Jun” (Female Red Army)

《红色娘子军》电影文学剧本作者梁信以其与中央芭蕾舞团的著作权许可使用《协议书》于2003年到期后,未经其许可,仍然在使用该作品,侵犯其改编权、署名权,中央芭蕾舞团以1993年《协议书》为表演权转让合同为由,辩称驳回梁信全部诉讼请求,芭蕾舞剧《红色娘子军》著作权纠纷大幕开启。就实体而言,本案有涉《协议书》(著作权合同)性质法理,特别是著作权许可使用合同与转让合同的区别,除许可期限外,许可合同标的更是重要区别;改编作品著作权使用法理,包括使用者与改编者法律关系、使用者与被改编作品作者间的法律关系;在署名权法理中,必须明确,署名权是为表明作者身份,在作品上署名的权利,而不是在其他著作上的"署名",在其他作品上表明某一作品身份,可能有涉人格利益合同。就程序而言,违反约定没有为其署名与署名权侵权能否并案审理,特别是当事人没有依据《合同法》第122条规定,违约请求权和侵权请求权间作出选择时,法官能否依职权代当事人选择的问题;著作权使用合同法律性质的证明,本质上是合同要素事实的证明,在直接证明难以发挥作用的情形下,反诘证明也是事实证明的重要规则之一。

According to the contract signed between Liang Xin, author of the movie script ＂Hongse Niangzi Jun＂ （Female Red Army） and Central Ballet Troupe, the latter was entitled to use the work until 2003. However, after 2003 it was still used. Hence, a lawsuit occurred between them. The author accused Central Ballet Troupe of breaching the rights of adapting and naming while the latter refuted by saying that the performance right was transferred by the former in 1993. This paper distinguishes naming right from performance right for adapted works, arguing that Central Ballet Troupe did not need to solicit the permission of the original author for the performance of adapted works but should have paid royalties to the original author.