Oliver Gerland
Biographic Data
| ID | 1708857 |
|---|---|
| NAME | Oliver Gerland |
| GIVEN NAMES | Oliver |
| FAMILY NAME | Gerland |
| SIGNATURE | GERLAND O |
| AFFILIATIONS | University of Colorado Boulder |
| ORCID | 0000-0001-8714-4020 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1992 |
| LATEST PUBLICATION YEAR | 2007 |
| H-INDEX | 1 |
From Playhouse to P2P Network
This essay examines the expanding meaning of performance under United States copyright law, and its implications for twenty-first-century media culture and performance studies. As new communication technologies emerged in the twentieth century, copyright owners advanced an innovative theory of performance called the "multiple performance theory" that made every transmission of a record of a performed composition itself a performance of it. Establ…
Brecht and the courtroom
This paper examines narrative strategies in the State and Federal trials of the four Los Angeles Police Department officers who beat motorist Rodney King. Brecht's theory of alienation provides the analytic framework. Alienation distances viewers from their “natural” response to social phenomena. Similarly, attorneys in the Rodney King trials distanced jurors from their “natural” response to the Holliday videotape. They employed something like Br…
Socrates’ Muse and the audience's desire
Plato's philosophical dialogues provide the earliest theory of performance in the Western tradition. Surprisingly, performance theorists have not closely examined the one dialogue devoted to the performer's art—the Ion. A close reading of this dialogue reveals a non‐Platonic theory of performance buried beneath the one advanced by Socrates. Socrates argues that performance begins in the Muse, but the rhapsode Ion suggests that it begins in the au…
Hedda Gabler
Divine Madness and the Absurd Paradox
From Playhouse to P2P Network
This essay examines the expanding meaning of performance under United States copyright law, and its implications for twenty-first-century media culture and performance studies. As new communication technologies emerged in the twentieth century, copyright owners advanced an innovative theory of performance called the "multiple performance theory" that made every transmission of a record of a performed composition itself a performance of it. Establ…
Socrates’ Muse and the audience's desire
Plato's philosophical dialogues provide the earliest theory of performance in the Western tradition. Surprisingly, performance theorists have not closely examined the one dialogue devoted to the performer's art—the Ion. A close reading of this dialogue reveals a non‐Platonic theory of performance buried beneath the one advanced by Socrates. Socrates argues that performance begins in the Muse, but the rhapsode Ion suggests that it begins in the au…
Hedda Gabler
Divine Madness and the Absurd Paradox
Brecht and the courtroom
This paper examines narrative strategies in the State and Federal trials of the four Los Angeles Police Department officers who beat motorist Rodney King. Brecht's theory of alienation provides the analytic framework. Alienation distances viewers from their “natural” response to social phenomena. Similarly, attorneys in the Rodney King trials distanced jurors from their “natural” response to the Holliday videotape. They employed something like Br…
From Playhouse to P2P Network
This essay examines the expanding meaning of performance under United States copyright law, and its implications for twenty-first-century media culture and performance studies. As new communication technologies emerged in the twentieth century, copyright owners advanced an innovative theory of performance called the "multiple performance theory" that made every transmission of a record of a performed composition itself a performance of it. Establ…
Art (5 works) · Literature (4 works) · Aesthetics (3 works) · Epistemology (3 works) · Law (3 works) · Law (3 works) · Philosophy (3 works) · Philosophy (3 works) · Political science (3 works) · Performing arts (2 works)