表演者与表演者权主体的立法构造——以我国《著作权法》第37条表演者的范围为切入点

The Legislative Structure of Performers and Performers’ Rights--Starting From the Scope of Performers in the Copyright Law of China

现行《著作权法》第37条规定的表演者包括演员和演出单位,这不仅与国际条约和多数国家规定不一致,而且导致了演员与演出单位之间的利益不平衡。因此,表演者的范围与表演者权的归属应当予以规范上的区分。一方面,规范意义上的表演者应当限于自然人,既是法律概念对社会实践的尊重,也是趋于降低法律理解成本的考量;而将演出单位视为表演者,既是对法律拟制的正确运用,也是对现行法律规定的纠正。另一方面,"表演者权主体"的设置,既消除了演出单位享有精神权利的逻辑漏洞,也保护了演出单位在表演活动中应当享有的权益。此外,表演者与演出单位之间的利益分配问题可以通过契约机制和法定许可机制予以合理解决。

The performers specified in Article 37 of the current Copyright Law include actors and performance units.This is not only inconsistent with international treaties and most national regulations,but also leads to the imbalance of interests between actors and performance units.Therefore,the scope of performers and the ownership of performers’ rights should be differentiated in a normative way.On the one hand,performers in a normative sense should be limited to natural persons,which is not only the respect of legal concepts for social practice,but also the consideration of reducing the cost of legal understanding;and regarding performance units as performers is not only the correct application of legal fiction,but also the correction of current legal provisions.On the other hand,the concept,the subject of performer’s right,not only eliminates the logical loopholes of the spiritual rights owned by the performing units,but also protects the rights and interests that the performance units should own in the performance activities.In addition,the distribution of interests between the performers and the performance units can be reasonably resolved through the contractual mechanisms and the legal licensing mechanisms.