aims atsynaesthesiamoreenergeticimpulse thaninformationphenomenonovernarrativetrustsindividualimpulsesfragmentaryand partialhumanbeingsbecomegesticsculpturesrupture ofmeaningbetweenbeing andmeaningtheatre ofstates andscenicallydynamicformationsmoreprocessthanproductdrama,emptiness, in-betweennessareprotagonistsdensity ofsigns—ornot (therebyactivatingimagination)abandonsitself tochance/riska theatre of thepresent, notintermediarybut continuouspoint ofpresentnesstext ismerely acomponentan event(feast, debate,public action,politicalmanifestation)theatre ofperceptibility(we startseeingseeing)visualdramaturgythroughscenographyno aestheticdistance (weare part of acommonsituation)makesceremonialaspect oftheatreimportant for itsown sakepolyglossiatheatrebecomeschora-graphybody’spresenceover logosmore sharedthancommunicatedexperiencemorepresence thanrepresentationsocial situationfor allparticipants:what youexperiencedepends on allreminders ofreading/speakinga text = unnaturalreplacementof actionwithceremonyoverlapbetweentheatre andperformanceartshockingphysicalityplethora,overabundance,hypernaturalism—theatre ofpropsdialoguetakes placebetweensound andspacenot an I that speaks butan it through a complexmachinizedcomposition/agencementheterogenous,individualimaginationsmusicalization= sound is anew languagein the theatre?microstructuresof textopen andfragmentingperceptiona timeof thegazemoremanifestationthansignificationresemblesstructuresof dreamspost-anthropocentrictheatre of thevoice(reverberationof the past)non-hierarchicalelementscoldnessofcharacterssimultaneityirruption of thereal—notknowingwhethersomething isreal or notaims atsynaesthesiamoreenergeticimpulse thaninformationphenomenonovernarrativetrustsindividualimpulsesfragmentaryand partialhumanbeingsbecomegesticsculpturesrupture ofmeaningbetweenbeing andmeaningtheatre ofstates andscenicallydynamicformationsmoreprocessthanproductdrama,emptiness, in-betweennessareprotagonistsdensity ofsigns—ornot (therebyactivatingimagination)abandonsitself tochance/riska theatre of thepresent, notintermediarybut continuouspoint ofpresentnesstext ismerely acomponentan event(feast, debate,public action,politicalmanifestation)theatre ofperceptibility(we startseeingseeing)visualdramaturgythroughscenographyno aestheticdistance (weare part of acommonsituation)makesceremonialaspect oftheatreimportant for itsown sakepolyglossiatheatrebecomeschora-graphybody’spresenceover logosmore sharedthancommunicatedexperiencemorepresence thanrepresentationsocial situationfor allparticipants:what youexperiencedepends on allreminders ofreading/speakinga text = unnaturalreplacementof actionwithceremonyoverlapbetweentheatre andperformanceartshockingphysicalityplethora,overabundance,hypernaturalism—theatre ofpropsdialoguetakes placebetweensound andspacenot an I that speaks butan it through a complexmachinizedcomposition/agencementheterogenous,individualimaginationsmusicalization= sound is anew languagein the theatre?microstructuresof textopen andfragmentingperceptiona timeof thegazemoremanifestationthansignificationresemblesstructuresof dreamspost-anthropocentrictheatre of thevoice(reverberationof the past)non-hierarchicalelementscoldnessofcharacterssimultaneityirruption of thereal—notknowingwhethersomething isreal or not

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