theatre of thevoice(reverberationof the past)rupture ofmeaningbetweenbeing andmeaningmoremanifestationthansignificationabandonsitself tochance/riskshockingphysicalitytext ismerely acomponentmakesceremonialaspect oftheatreimportant for itsown sakeirruption of thereal—notknowingwhethersomething isreal or notpost-anthropocentricdrama,emptiness, in-betweennessareprotagonistsvisualdramaturgythroughscenographyplethora,overabundance,hypernaturalism—theatre ofpropsfragmentaryand partialaims atsynaesthesiamusicalization= sound is anew languagein the theatre?heterogenous,individualimaginationsreminders ofreading/speakinga text = unnaturalmicrostructuresof texthumanbeingsbecomegesticsculpturestheatre ofstates andscenicallydynamicformationsmoreprocessthanproductsocial situationfor allparticipants:what youexperiencedepends on allan event(feast, debate,public action,politicalmanifestation)theatre ofperceptibility(we startseeingseeing)open andfragmentingperceptionreplacementof actionwithceremonydialoguetakes placebetweensound andspacea theatre of thepresent, notintermediarybut continuouspoint ofpresentnessnot an I that speaks butan it through a complexmachinizedcomposition/agencementphenomenonovernarrativemore sharedthancommunicatedexperiencebody’spresenceover logosmoreenergeticimpulse thaninformationno aestheticdistance (weare part of acommonsituation)theatrebecomeschora-graphysimultaneitytrustsindividualimpulsesoverlapbetweentheatre andperformancearta timeof thegazemorepresence thanrepresentationnon-hierarchicalelementscoldnessofcharactersdensity ofsigns—ornot (therebyactivatingimagination)polyglossiaresemblesstructuresof dreamstheatre of thevoice(reverberationof the past)rupture ofmeaningbetweenbeing andmeaningmoremanifestationthansignificationabandonsitself tochance/riskshockingphysicalitytext ismerely acomponentmakesceremonialaspect oftheatreimportant for itsown sakeirruption of thereal—notknowingwhethersomething isreal or notpost-anthropocentricdrama,emptiness, in-betweennessareprotagonistsvisualdramaturgythroughscenographyplethora,overabundance,hypernaturalism—theatre ofpropsfragmentaryand partialaims atsynaesthesiamusicalization= sound is anew languagein the theatre?heterogenous,individualimaginationsreminders ofreading/speakinga text = unnaturalmicrostructuresof texthumanbeingsbecomegesticsculpturestheatre ofstates andscenicallydynamicformationsmoreprocessthanproductsocial situationfor allparticipants:what youexperiencedepends on allan event(feast, debate,public action,politicalmanifestation)theatre ofperceptibility(we startseeingseeing)open andfragmentingperceptionreplacementof actionwithceremonydialoguetakes placebetweensound andspacea theatre of thepresent, notintermediarybut continuouspoint ofpresentnessnot an I that speaks butan it through a complexmachinizedcomposition/agencementphenomenonovernarrativemore sharedthancommunicatedexperiencebody’spresenceover logosmoreenergeticimpulse thaninformationno aestheticdistance (weare part of acommonsituation)theatrebecomeschora-graphysimultaneitytrustsindividualimpulsesoverlapbetweentheatre andperformancearta timeof thegazemorepresence thanrepresentationnon-hierarchicalelementscoldnessofcharactersdensity ofsigns—ornot (therebyactivatingimagination)polyglossiaresemblesstructuresof dreams

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