The copyright is the author’s way of legally protecting his/her works financially and artistically. Financially, the author provides exclusive usage rights, by way of revenue streams related to any sales or other ways of subletting the usage of original works. The artistic part relates to the right to be mentioned as the creator of the work as well as protection against any changes or alterations in the way the work is performed or published. After the death of the author, all the rights are transferred to the heirs for a period of seventy years.
Saltkråkan AB owns the rights for:
Artists who have illustrated Astrid Lindgren’s works own the rights to their own images, with the exception of Ingrid Vang Nyman, from whom Saltkråkan AB has purchased the rights to all her illustrations.
Composers who have written music for any of Astrid Lindgren’s films, plays or other works own the rights to their own works.SaltkråkanABonly owns the rights to the lyrics that Astrid Lindgren wrote.
Photographers who have taken pictures of Astrid Lindgren own the rights to their own pictures.
Using quotations in news articles or reports is normally permitted. Public works may be quoted according to good practice, and in amounts that are motivated by their purpose. Good practice means, amongst other things, that the author is mentioned and that the quote itself is never so extensive that it will become the main part of the new work. Quotation rights only apply to limited parts of a material – for example, for educational purposes or for a scientific analysis of the text. The use of a quotation must be with a loyal purpose and must never violate the author.
As a private person you are obviously free to perform in any way you want, but publicly you are not allowed to perform or entertain as Pippi Longstocking or any other of Astrid Lindgren’s characters. The character that she has written about does not exist in reality, apart from in theatre plays.
Event companies and others do not have the right to borrow Astrid Lindgren’s characters for any other contexts than to mount a play, and even for that a contract is needed. Out of respect for the author and her strong wishes to let the characters remain exactly just as she imagined them, we are very restrictive about the contexts in which they may be used.