morepresence thanrepresentationdensity ofsigns—ornot (therebyactivatingimagination)a timeof thegazea theatre of thepresent, notintermediarybut continuouspoint ofpresentnessreplacementof actionwithceremonyoverlapbetweentheatre andperformancearttheatre ofstates andscenicallydynamicformationssocial situationfor allparticipants:what youexperiencedepends on allmore sharedthancommunicatedexperienceshockingphysicalitymoremanifestationthansignificationmakesceremonialaspect oftheatreimportant for itsown sakemoreenergeticimpulse thaninformationphenomenonovernarrativeplethora,overabundance,hypernaturalism—theatre ofpropsfragmentaryand partialpolyglossianot an I that speaks butan it through a complexmachinizedcomposition/agencementtext ismerely acomponentrupture ofmeaningbetweenbeing andmeaningnon-hierarchicalelementsdrama,emptiness, in-betweennessareprotagonistsdialoguetakes placebetweensound andspacemicrostructuresof textirruption of thereal—notknowingwhethersomething isreal or notopen andfragmentingperceptionaims atsynaesthesiamusicalization= sound is anew languagein the theatre?theatre of thevoice(reverberationof the past)theatrebecomeschora-graphyhumanbeingsbecomegesticsculpturescoldnessofcharactersan event(feast, debate,public action,politicalmanifestation)resemblesstructuresof dreamstrustsindividualimpulsespost-anthropocentricheterogenous,individualimaginationssimultaneityabandonsitself tochance/riskreminders ofreading/speakinga text = unnaturalmoreprocessthanproductvisualdramaturgythroughscenographybody’spresenceover logostheatre ofperceptibility(we startseeingseeing)no aestheticdistance (weare part of acommonsituation)morepresence thanrepresentationdensity ofsigns—ornot (therebyactivatingimagination)a timeof thegazea theatre of thepresent, notintermediarybut continuouspoint ofpresentnessreplacementof actionwithceremonyoverlapbetweentheatre andperformancearttheatre ofstates andscenicallydynamicformationssocial situationfor allparticipants:what youexperiencedepends on allmore sharedthancommunicatedexperienceshockingphysicalitymoremanifestationthansignificationmakesceremonialaspect oftheatreimportant for itsown sakemoreenergeticimpulse thaninformationphenomenonovernarrativeplethora,overabundance,hypernaturalism—theatre ofpropsfragmentaryand partialpolyglossianot an I that speaks butan it through a complexmachinizedcomposition/agencementtext ismerely acomponentrupture ofmeaningbetweenbeing andmeaningnon-hierarchicalelementsdrama,emptiness, in-betweennessareprotagonistsdialoguetakes placebetweensound andspacemicrostructuresof textirruption of thereal—notknowingwhethersomething isreal or notopen andfragmentingperceptionaims atsynaesthesiamusicalization= sound is anew languagein the theatre?theatre of thevoice(reverberationof the past)theatrebecomeschora-graphyhumanbeingsbecomegesticsculpturescoldnessofcharactersan event(feast, debate,public action,politicalmanifestation)resemblesstructuresof dreamstrustsindividualimpulsespost-anthropocentricheterogenous,individualimaginationssimultaneityabandonsitself tochance/riskreminders ofreading/speakinga text = unnaturalmoreprocessthanproductvisualdramaturgythroughscenographybody’spresenceover logostheatre ofperceptibility(we startseeingseeing)no aestheticdistance (weare part of acommonsituation)

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