theatre of thevoice(reverberationof the past)a timeof thegazemusicalization= sound is anew languagein the theatre?not an I that speaks butan it through a complexmachinizedcomposition/agencementpolyglossiashockingphysicalityreplacementof actionwithceremonyhumanbeingsbecomegesticsculpturesreminders ofreading/speakinga text = unnaturalrupture ofmeaningbetweenbeing andmeaningtext ismerely acomponentmakesceremonialaspect oftheatreimportant for itsown sakesocial situationfor allparticipants:what youexperiencedepends on alltheatrebecomeschora-graphydialoguetakes placebetweensound andspaceabandonsitself tochance/risknon-hierarchicalelementsoverlapbetweentheatre andperformanceartdrama,emptiness, in-betweennessareprotagoniststheatre ofstates andscenicallydynamicformationsmorepresence thanrepresentationan event(feast, debate,public action,politicalmanifestation)theatre ofperceptibility(we startseeingseeing)coldnessofcharactersplethora,overabundance,hypernaturalism—theatre ofpropsvisualdramaturgythroughscenographya theatre of thepresent, notintermediarybut continuouspoint ofpresentnesssimultaneityaims atsynaesthesiaphenomenonovernarrativemicrostructuresof textmoremanifestationthansignificationmoreprocessthanproducttrustsindividualimpulsesno aestheticdistance (weare part of acommonsituation)post-anthropocentricdensity ofsigns—ornot (therebyactivatingimagination)open andfragmentingperceptionheterogenous,individualimaginationsfragmentaryand partialresemblesstructuresof dreamsbody’spresenceover logosmore sharedthancommunicatedexperienceirruption of thereal—notknowingwhethersomething isreal or notmoreenergeticimpulse thaninformationtheatre of thevoice(reverberationof the past)a timeof thegazemusicalization= sound is anew languagein the theatre?not an I that speaks butan it through a complexmachinizedcomposition/agencementpolyglossiashockingphysicalityreplacementof actionwithceremonyhumanbeingsbecomegesticsculpturesreminders ofreading/speakinga text = unnaturalrupture ofmeaningbetweenbeing andmeaningtext ismerely acomponentmakesceremonialaspect oftheatreimportant for itsown sakesocial situationfor allparticipants:what youexperiencedepends on alltheatrebecomeschora-graphydialoguetakes placebetweensound andspaceabandonsitself tochance/risknon-hierarchicalelementsoverlapbetweentheatre andperformanceartdrama,emptiness, in-betweennessareprotagoniststheatre ofstates andscenicallydynamicformationsmorepresence thanrepresentationan event(feast, debate,public action,politicalmanifestation)theatre ofperceptibility(we startseeingseeing)coldnessofcharactersplethora,overabundance,hypernaturalism—theatre ofpropsvisualdramaturgythroughscenographya theatre of thepresent, notintermediarybut continuouspoint ofpresentnesssimultaneityaims atsynaesthesiaphenomenonovernarrativemicrostructuresof textmoremanifestationthansignificationmoreprocessthanproducttrustsindividualimpulsesno aestheticdistance (weare part of acommonsituation)post-anthropocentricdensity ofsigns—ornot (therebyactivatingimagination)open andfragmentingperceptionheterogenous,individualimaginationsfragmentaryand partialresemblesstructuresof dreamsbody’spresenceover logosmore sharedthancommunicatedexperienceirruption of thereal—notknowingwhethersomething isreal or notmoreenergeticimpulse thaninformation

Postdramatic Bingo - 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. theatre of the voice (reverberation of the past)
  2. a time of the gaze
  3. musicalization = sound is a new language in the theatre?
  4. not an I that speaks but an it through a complex machinized composition/agencement
  5. polyglossia
  6. shocking physicality
  7. replacement of action with ceremony
  8. human beings become gestic sculptures
  9. reminders of reading/speaking a text = unnatural
  10. rupture of meaning between being and meaning
  11. text is merely a component
  12. makes ceremonial aspect of theatre important for its own sake
  13. social situation for all participants: what you experience depends on all
  14. theatre becomes chora-graphy
  15. dialogue takes place between sound and space
  16. abandons itself to chance/risk
  17. non-hierarchical elements
  18. overlap between theatre and performance art
  19. drama, emptiness, in-betweenness are protagonists
  20. theatre of states and scenically dynamic formations
  21. more presence than representation
  22. an event (feast, debate, public action, political manifestation)
  23. theatre of perceptibility (we start seeing seeing)
  24. coldness of characters
  25. plethora, overabundance, hypernaturalism—theatre of props
  26. visual dramaturgy through scenography
  27. a theatre of the present, not intermediary but continuous point of presentness
  28. simultaneity
  29. aims at synaesthesia
  30. phenomenon over narrative
  31. microstructures of text
  32. more manifestation than signification
  33. more process than product
  34. trusts individual impulses
  35. no aesthetic distance (we are part of a common situation)
  36. post-anthropocentric
  37. density of signs—or not (thereby activating imagination)
  38. open and fragmenting perception
  39. heterogenous, individual imaginations
  40. fragmentary and partial
  41. resembles structures of dreams
  42. body’s presence over logos
  43. more shared than communicated experience
  44. irruption of the real—not knowing whether something is real or not
  45. more energetic impulse than information