Physicalstorytellingreplacesrealistic stagingor effectsCharacterchangespathways(straight →curved/diagonal)MovementcommunicatesemotionclearlyPerformeruses rhythmin theirphysicalityPerformeruses fullbody vsisolatedbody partsContrastbetween solomovementand ensemblemovementPerformer shiftsmovementquality (smooth→ sharp orheavy → light)Ensemblemoves inunisonClearchange intempo (slow↔ fast)Movementtells storywithoutdialogue orlyricsRepeatedgesturebecomes acharacterhabitPerformerusesstillness foremphasisMovementcommunicatespower orstatusSuddenfreeze orpause marksa story beatCharacterchanges spineshape to showemotion orstatusEnsemblecreates avisual pictureor shapeonstageMovementbecomessmaller toshow fear orvulnerabilityPerformeruses head orgaze to leadmovementPhysicalreaction showsrelationshipbetweencharactersShift inenergy level(low → highor high →low)Use of levels(high/low) toshow poweror focusPerformerleadsmovementfrom thecore/hipsGroupmovementcreates alocation orenvironmentMovementgrows largerto showconfidencePerformermirrorsanother’smovementPhysicalstorytellingreplacesrealistic stagingor effectsCharacterchangespathways(straight →curved/diagonal)MovementcommunicatesemotionclearlyPerformeruses rhythmin theirphysicalityPerformeruses fullbody vsisolatedbody partsContrastbetween solomovementand ensemblemovementPerformer shiftsmovementquality (smooth→ sharp orheavy → light)Ensemblemoves inunisonClearchange intempo (slow↔ fast)Movementtells storywithoutdialogue orlyricsRepeatedgesturebecomes acharacterhabitPerformerusesstillness foremphasisMovementcommunicatespower orstatusSuddenfreeze orpause marksa story beatCharacterchanges spineshape to showemotion orstatusEnsemblecreates avisual pictureor shapeonstageMovementbecomessmaller toshow fear orvulnerabilityPerformeruses head orgaze to leadmovementPhysicalreaction showsrelationshipbetweencharactersShift inenergy level(low → highor high →low)Use of levels(high/low) toshow poweror focusPerformerleadsmovementfrom thecore/hipsGroupmovementcreates alocation orenvironmentMovementgrows largerto showconfidencePerformermirrorsanother’smovement

Theatrical Movement - Call List

(Print) Use this randomly generated list as your call list when playing the game. There is no need to say the BINGO column name. Place some kind of mark (like an X, a checkmark, a dot, tally mark, etc) on each cell as you announce it, to keep track. You can also cut out each item, place them in a bag and pull words from the bag.


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  1. Physical storytelling replaces realistic staging or effects
  2. Character changes pathways (straight → curved/diagonal)
  3. Movement communicates emotion clearly
  4. Performer uses rhythm in their physicality
  5. Performer uses full body vs isolated body parts
  6. Contrast between solo movement and ensemble movement
  7. Performer shifts movement quality (smooth → sharp or heavy → light)
  8. Ensemble moves in unison
  9. Clear change in tempo (slow ↔ fast)
  10. Movement tells story without dialogue or lyrics
  11. Repeated gesture becomes a character habit
  12. Performer uses stillness for emphasis
  13. Movement communicates power or status
  14. Sudden freeze or pause marks a story beat
  15. Character changes spine shape to show emotion or status
  16. Ensemble creates a visual picture or shape onstage
  17. Movement becomes smaller to show fear or vulnerability
  18. Performer uses head or gaze to lead movement
  19. Physical reaction shows relationship between characters
  20. Shift in energy level (low → high or high → low)
  21. Use of levels (high/low) to show power or focus
  22. Performer leads movement from the core/hips
  23. Group movement creates a location or environment
  24. Movement grows larger to show confidence
  25. Performer mirrors another’s movement