post-anthropocentrictext ismerely acomponentnot an I that speaks butan it through a complexmachinizedcomposition/agencementabandonsitself tochance/riskresemblesstructuresof dreamsmoremanifestationthansignificationreplacementof actionwithceremonymore sharedthancommunicatedexperiencetheatrebecomeschora-graphyshockingphysicalitynon-hierarchicalelementscoldnessofcharactersmusicalization= sound is anew languagein the theatre?polyglossiatheatre ofperceptibility(we startseeingseeing)makesceremonialaspect oftheatreimportant for itsown sakesimultaneityfragmentaryand partialdensity ofsigns—ornot (therebyactivatingimagination)body’spresenceover logoshumanbeingsbecomegesticsculpturesvisualdramaturgythroughscenographya theatre of thepresent, notintermediarybut continuouspoint ofpresentnessmorepresence thanrepresentationaims atsynaesthesiatrustsindividualimpulsesmoreenergeticimpulse thaninformationdrama,emptiness, in-betweennessareprotagonistsheterogenous,individualimaginationsopen andfragmentingperceptionreminders ofreading/speakinga text = unnaturala timeof thegazephenomenonovernarrativetheatre ofstates andscenicallydynamicformationsno aestheticdistance (weare part of acommonsituation)plethora,overabundance,hypernaturalism—theatre ofpropsmoreprocessthanproductmicrostructuresof textrupture ofmeaningbetweenbeing andmeaningirruption of thereal—notknowingwhethersomething isreal or nottheatre of thevoice(reverberationof the past)dialoguetakes placebetweensound andspaceoverlapbetweentheatre andperformanceartan event(feast, debate,public action,politicalmanifestation)social situationfor allparticipants:what youexperiencedepends on allpost-anthropocentrictext ismerely acomponentnot an I that speaks butan it through a complexmachinizedcomposition/agencementabandonsitself tochance/riskresemblesstructuresof dreamsmoremanifestationthansignificationreplacementof actionwithceremonymore sharedthancommunicatedexperiencetheatrebecomeschora-graphyshockingphysicalitynon-hierarchicalelementscoldnessofcharactersmusicalization= sound is anew languagein the theatre?polyglossiatheatre ofperceptibility(we startseeingseeing)makesceremonialaspect oftheatreimportant for itsown sakesimultaneityfragmentaryand partialdensity ofsigns—ornot (therebyactivatingimagination)body’spresenceover logoshumanbeingsbecomegesticsculpturesvisualdramaturgythroughscenographya theatre of thepresent, notintermediarybut continuouspoint ofpresentnessmorepresence thanrepresentationaims atsynaesthesiatrustsindividualimpulsesmoreenergeticimpulse thaninformationdrama,emptiness, in-betweennessareprotagonistsheterogenous,individualimaginationsopen andfragmentingperceptionreminders ofreading/speakinga text = unnaturala timeof thegazephenomenonovernarrativetheatre ofstates andscenicallydynamicformationsno aestheticdistance (weare part of acommonsituation)plethora,overabundance,hypernaturalism—theatre ofpropsmoreprocessthanproductmicrostructuresof textrupture ofmeaningbetweenbeing andmeaningirruption of thereal—notknowingwhethersomething isreal or nottheatre of thevoice(reverberationof the past)dialoguetakes placebetweensound andspaceoverlapbetweentheatre andperformanceartan event(feast, debate,public action,politicalmanifestation)social situationfor allparticipants:what youexperiencedepends on all

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