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Academic literature on the topic 'Motus (Theater group)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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Journal articles on the topic "Motus (Theater group)"

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Nesteruk, Snizhana. "Dispositive modus in B. Shaw’s comedy «Heartseed»." Bulletin of Luhansk Taras Shevchenko National University, no. 2 (361) (2024): 192–99. http://dx.doi.org/10.12958/2227-2844-2024-2(361)-192-199.

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The comic «Heart Eater» by B. Shaw serves as a lens through which to view the «modus» dispositive. Various approaches can be used to differentiate the phenomenon under study. These include viewing fashion as a specific system of class differentiation, using fashion to mimic morality and the practice of collective selection, fashion as a means of artificially demanding gender monism, to visualize an environment, fashion as a cultural ritual, and using fashion to undermine marriage as a social institution. According to the analysis, the older generation views the fashion value system as a delibe

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Ghoshal, Shubhra, and Nirban Manna. "Dialogue for Empowerment: Jana Sanskriti’s Experiment with the Method of the Theatre of the Oppressed in Rural Bengal." New Theatre Quarterly 36, no. 2 (2020): 117–30. http://dx.doi.org/10.1017/s0266464x20000226.

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Since the 1970s, belief in the importance of participatory empowerment has been constantly asserted through various mass-inclusive developmental strategies. The growing interest in theatre for generating socio-political capacity-building among people gave rise to the Theatre of the Oppressed, conceptualized and developed by Augusto Boal. This article provides a brief outline of the modus operandi of Boal’s practice, and focuses on investigating the theoretical and practical methodology of Jana Sanskriti, the West Bengal group of practitioners of Theatre of the Oppressed. The article investigat

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Jovičević, Aleksandra. "From Stage to Page: New Forms of the Performance Text." Amfiteater 9, no. 2021-2 (2022): 18–28. http://dx.doi.org/10.51937/amfiteater-2022-1/18-28.

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The paper deals with different forms of the performance text, still a new phenomenon in contemporary theatre, which requires new instruments for its analysis. The structural transformation of the written text into the performance, including the role of the spectator in it, confirms the fact that the performance text does not simply mean a new kind of the written text – and even less a new type of theatre text, but rather an essentially changed hypertext. Instead, the performance text could also be called an open text of the performance, in the sense that it requires spectators to become its ac

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Varlamenko, I. G. "SUBJECT-OBJECT RELATIONS IN ENGLISH IDIOMS WITH A GUSTATORY PERCEPTIVE COMPONNENT." Bulletin of Kemerovo State University, no. 2 (June 29, 2017): 179–83. http://dx.doi.org/10.21603/2078-8975-2017-2-179-183.

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The paper proposes an analysis of the idioms that have reference to the modus of gustatory perception. The main goal of the paper is to study structural and semantic features of the idioms belonging to this group as well as to consider cognitive and stylistic characteristics of their representation in English literary texts, specifically in W. S. Maugham’s novels “Theatre” and “The Razor’s Edge”. The classifications of the idioms according to the perceptive predicates and to their abilities to characterize either a perceptive subject, or a perceptive object, or perceptive activity itself are p

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Васильєва, Людмила, та Світлана Чмихун. "ЯВИЩЕ ПУБЛІЧНОГО ДІЙСТВА В РЕАЛІЯХ СОЦІАЛЬНОГО ПРИМУСУ ІНФОРМАЦІЙНОГО СУСПІЛЬСТВА". Humanities journal, № 4 (4 лютого 2020): 97–108. http://dx.doi.org/10.32620/gch.2019.4.10.

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The article explores the phenomenon of public action as social coercion in modern media practices, whereby shaping the required behavior personal demonstrativeness and representation becomes a compulsory monad of a public person. It is argued that in a public environment, human identity is largely subject to manipulative influence and becomes a target of overt social coercion. If under the dominance of classical social philosophy the question could arise only about the determinants of the social essence of a person: an individual from society (E. Durkheim) or a society from individuals (M. Web

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Zhou, Daping. "The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research." Aspects of Historical Musicology 14, no. 14 (2018): 180–206. http://dx.doi.org/10.34064/khnum2-14.13.

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Introduction. The given paper is devoted to questions, which make up the dissertation research section upon the genre semantics of the Chinese composers’ solo piano creations. The general theoretic background for the vast amount of the musical artifacts studying is specified in the current section. Theoretical background. In his studying of the Chinese composers’ piano creative work the author follows the research trend, originated by G. Schneerson, Lui Ji, Wei Tinge, Liu Fuan, Zhang Xiaohu, Zhang Qian and others. In particular, the current research is based upon the works by Bu Li, Bian Meng,

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Books on the topic "Motus (Theater group)"

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group), Motus (Theater. Io vivo nelle cose: Appunti di viaggio da "Rooms" a Pasolini. Ubulibri, 2006.

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Hello Stranger. Damiani, 2017.

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Book chapters on the topic "Motus (Theater group)"

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Sacco, Daniela. "Le geste entre répétition et révolution. D’Antigone de Sophocle à Motus, en passant par Bertolt Brecht et le Living Theatre." In Le geste sur les scènes des XXe et XXIe siècles. Sorbonne Université Presses, 2025. https://doi.org/10.70551/stfn3022.

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Cet article propose une réflexion sur le geste d’Antigone à travers les étapes cruciales qui ont sous-tendu la relation entre tradition et innovation théâtrale au cours du XXe siècle et pendant les années 2000, partir de l’origine tragique (Sophocle), en passant par Bertolt Brecht et le Living Theatre, pour arriver au groupe italien Motus et son projet Syrma Antigónes (en particulier le spectacle Alexis. Una tragedia greca). Le geste d’Antigone révèle son ambiguïté entre la descente et le soulèvement au centre d’un réseau dense de citations, imitations, répétitions, variations qui font la qual

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