theatre of thevoice(reverberationof the past)morepresence thanrepresentationmoreprocessthanproducttrustsindividualimpulsespolyglossiadensity ofsigns—ornot (therebyactivatingimagination)abandonsitself tochance/riskphenomenonovernarrativeno aestheticdistance (weare part of acommonsituation)musicalization= sound is anew languagein the theatre?body’spresenceover logosdrama,emptiness, in-betweennessareprotagoniststext ismerely acomponentreminders ofreading/speakinga text = unnaturalresemblesstructuresof dreamsa theatre of thepresent, notintermediarybut continuouspoint ofpresentnessopen andfragmentingperceptiontheatrebecomeschora-graphydialoguetakes placebetweensound andspacesimultaneityirruption of thereal—notknowingwhethersomething isreal or nothumanbeingsbecomegesticsculpturesa timeof thegazeheterogenous,individualimaginationsvisualdramaturgythroughscenographyan event(feast, debate,public action,politicalmanifestation)aims atsynaesthesiamore sharedthancommunicatedexperienceshockingphysicalityfragmentaryand partialmoreenergeticimpulse thaninformationtheatre ofperceptibility(we startseeingseeing)makesceremonialaspect oftheatreimportant for itsown sakeoverlapbetweentheatre andperformanceartnot an I that speaks butan it through a complexmachinizedcomposition/agencementmicrostructuresof textmoremanifestationthansignificationcoldnessofcharactersreplacementof actionwithceremonysocial situationfor allparticipants:what youexperiencedepends on allrupture ofmeaningbetweenbeing andmeaningtheatre ofstates andscenicallydynamicformationsnon-hierarchicalelementspost-anthropocentricplethora,overabundance,hypernaturalism—theatre ofpropstheatre of thevoice(reverberationof the past)morepresence thanrepresentationmoreprocessthanproducttrustsindividualimpulsespolyglossiadensity ofsigns—ornot (therebyactivatingimagination)abandonsitself tochance/riskphenomenonovernarrativeno aestheticdistance (weare part of acommonsituation)musicalization= sound is anew languagein the theatre?body’spresenceover logosdrama,emptiness, in-betweennessareprotagoniststext ismerely acomponentreminders ofreading/speakinga text = unnaturalresemblesstructuresof dreamsa theatre of thepresent, notintermediarybut continuouspoint ofpresentnessopen andfragmentingperceptiontheatrebecomeschora-graphydialoguetakes placebetweensound andspacesimultaneityirruption of thereal—notknowingwhethersomething isreal or nothumanbeingsbecomegesticsculpturesa timeof thegazeheterogenous,individualimaginationsvisualdramaturgythroughscenographyan event(feast, debate,public action,politicalmanifestation)aims atsynaesthesiamore sharedthancommunicatedexperienceshockingphysicalityfragmentaryand partialmoreenergeticimpulse thaninformationtheatre ofperceptibility(we startseeingseeing)makesceremonialaspect oftheatreimportant for itsown sakeoverlapbetweentheatre andperformanceartnot an I that speaks butan it through a complexmachinizedcomposition/agencementmicrostructuresof textmoremanifestationthansignificationcoldnessofcharactersreplacementof actionwithceremonysocial situationfor allparticipants:what youexperiencedepends on allrupture ofmeaningbetweenbeing andmeaningtheatre ofstates andscenicallydynamicformationsnon-hierarchicalelementspost-anthropocentricplethora,overabundance,hypernaturalism—theatre ofprops

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