coldnessofcharactersdialoguetakes placebetweensound andspacea theatre of thepresent, notintermediarybut continuouspoint ofpresentnessaims atsynaesthesiaresemblesstructuresof dreamsfragmentaryand partialheterogenous,individualimaginationsmusicalization= sound is anew languagein the theatre?a timeof thegazetrustsindividualimpulsesphenomenonovernarrativereplacementof actionwithceremonymoreprocessthanproductsocial situationfor allparticipants:what youexperiencedepends on alloverlapbetweentheatre andperformanceartnon-hierarchicalelementsno aestheticdistance (weare part of acommonsituation)drama,emptiness, in-betweennessareprotagonistsmicrostructuresof textpolyglossiaplethora,overabundance,hypernaturalism—theatre ofpropsvisualdramaturgythroughscenographymakesceremonialaspect oftheatreimportant for itsown sakedensity ofsigns—ornot (therebyactivatingimagination)simultaneitymore sharedthancommunicatedexperiencetheatre of thevoice(reverberationof the past)post-anthropocentrictext ismerely acomponentopen andfragmentingperceptionmoreenergeticimpulse thaninformationabandonsitself tochance/riskreminders ofreading/speakinga text = unnaturalrupture ofmeaningbetweenbeing andmeaningtheatre ofperceptibility(we startseeingseeing)an event(feast, debate,public action,politicalmanifestation)humanbeingsbecomegesticsculpturesirruption of thereal—notknowingwhethersomething isreal or notbody’spresenceover logosshockingphysicalitymorepresence thanrepresentationtheatre ofstates andscenicallydynamicformationstheatrebecomeschora-graphynot an I that speaks butan it through a complexmachinizedcomposition/agencementmoremanifestationthansignificationcoldnessofcharactersdialoguetakes placebetweensound andspacea theatre of thepresent, notintermediarybut continuouspoint ofpresentnessaims atsynaesthesiaresemblesstructuresof dreamsfragmentaryand partialheterogenous,individualimaginationsmusicalization= sound is anew languagein the theatre?a timeof thegazetrustsindividualimpulsesphenomenonovernarrativereplacementof actionwithceremonymoreprocessthanproductsocial situationfor allparticipants:what youexperiencedepends on alloverlapbetweentheatre andperformanceartnon-hierarchicalelementsno aestheticdistance (weare part of acommonsituation)drama,emptiness, in-betweennessareprotagonistsmicrostructuresof textpolyglossiaplethora,overabundance,hypernaturalism—theatre ofpropsvisualdramaturgythroughscenographymakesceremonialaspect oftheatreimportant for itsown sakedensity ofsigns—ornot (therebyactivatingimagination)simultaneitymore sharedthancommunicatedexperiencetheatre of thevoice(reverberationof the past)post-anthropocentrictext ismerely acomponentopen andfragmentingperceptionmoreenergeticimpulse thaninformationabandonsitself tochance/riskreminders ofreading/speakinga text = unnaturalrupture ofmeaningbetweenbeing andmeaningtheatre ofperceptibility(we startseeingseeing)an event(feast, debate,public action,politicalmanifestation)humanbeingsbecomegesticsculpturesirruption of thereal—notknowingwhethersomething isreal or notbody’spresenceover logosshockingphysicalitymorepresence thanrepresentationtheatre ofstates andscenicallydynamicformationstheatrebecomeschora-graphynot an I that speaks butan it through a complexmachinizedcomposition/agencementmoremanifestationthansignification

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