What happens when a scholar treats unpublished women's writing as dramatic source text? What are the exact copyright laws that effect academic and artistic freedom to build upon the past? I would like use the correspondence between modernist poets Hilda Doolittle and Marianne Moore at the Rosenbach Museum and Library as an opportunity to explore this question. I would use a granular method of rigorous scholarship and creating my own record of correspondence with seeking permission to use excerpts for a performance at the museum of my play, Companions of the Flame. This work would fall under the scope of feminist recovery scholarship (Elaine Showalter) combined with performance theory (Diana Taylor) I found some excellent secondary sources on Tripod. Taylor, Diana.The Archive and and and The Repertoire. L. Mancia. Embodied Epistemology as Rigorous Historical Method. Schneider, Rebecca. Performing Remains : Art and War in Times of Theatrical Reenactment. Showalter, Elaine. A Literature of Their Own : British Women Novelists from Brontë to Lessing.