aims atsynaesthesiasimultaneityresemblesstructuresof dreamsplethora,overabundance,hypernaturalism—theatre ofpropsshockingphysicalityrupture ofmeaningbetweenbeing andmeaningtext ismerely acomponenttheatre ofstates andscenicallydynamicformationshumanbeingsbecomegesticsculpturesmicrostructuresof textopen andfragmentingperceptionmoremanifestationthansignificationreplacementof actionwithceremonyreminders ofreading/speakinga text = unnaturaldrama,emptiness, in-betweennessareprotagoniststheatrebecomeschora-graphyfragmentaryand partialphenomenonovernarrativenot an I that speaks butan it through a complexmachinizedcomposition/agencementno aestheticdistance (weare part of acommonsituation)makesceremonialaspect oftheatreimportant for itsown saketrustsindividualimpulsestheatre ofperceptibility(we startseeingseeing)irruption of thereal—notknowingwhethersomething isreal or notan event(feast, debate,public action,politicalmanifestation)heterogenous,individualimaginationsa theatre of thepresent, notintermediarybut continuouspoint ofpresentnessmoreprocessthanproductbody’spresenceover logosa timeof thegazeoverlapbetweentheatre andperformanceartsocial situationfor allparticipants:what youexperiencedepends on allmoreenergeticimpulse thaninformationpolyglossiatheatre of thevoice(reverberationof the past)non-hierarchicalelementspost-anthropocentricmorepresence thanrepresentationcoldnessofcharactersmusicalization= sound is anew languagein the theatre?more sharedthancommunicatedexperienceabandonsitself tochance/riskvisualdramaturgythroughscenographydialoguetakes placebetweensound andspacedensity ofsigns—ornot (therebyactivatingimagination)aims atsynaesthesiasimultaneityresemblesstructuresof dreamsplethora,overabundance,hypernaturalism—theatre ofpropsshockingphysicalityrupture ofmeaningbetweenbeing andmeaningtext ismerely acomponenttheatre ofstates andscenicallydynamicformationshumanbeingsbecomegesticsculpturesmicrostructuresof textopen andfragmentingperceptionmoremanifestationthansignificationreplacementof actionwithceremonyreminders ofreading/speakinga text = unnaturaldrama,emptiness, in-betweennessareprotagoniststheatrebecomeschora-graphyfragmentaryand partialphenomenonovernarrativenot an I that speaks butan it through a complexmachinizedcomposition/agencementno aestheticdistance (weare part of acommonsituation)makesceremonialaspect oftheatreimportant for itsown saketrustsindividualimpulsestheatre ofperceptibility(we startseeingseeing)irruption of thereal—notknowingwhethersomething isreal or notan event(feast, debate,public action,politicalmanifestation)heterogenous,individualimaginationsa theatre of thepresent, notintermediarybut continuouspoint ofpresentnessmoreprocessthanproductbody’spresenceover logosa timeof thegazeoverlapbetweentheatre andperformanceartsocial situationfor allparticipants:what youexperiencedepends on allmoreenergeticimpulse thaninformationpolyglossiatheatre of thevoice(reverberationof the past)non-hierarchicalelementspost-anthropocentricmorepresence thanrepresentationcoldnessofcharactersmusicalization= sound is anew languagein the theatre?more sharedthancommunicatedexperienceabandonsitself tochance/riskvisualdramaturgythroughscenographydialoguetakes placebetweensound andspacedensity ofsigns—ornot (therebyactivatingimagination)

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