a timeof thegazemicrostructuresof textdensity ofsigns—ornot (therebyactivatingimagination)open andfragmentingperceptionaims atsynaesthesiaabandonsitself tochance/riskno aestheticdistance (weare part of acommonsituation)polyglossiavisualdramaturgythroughscenographymoreenergeticimpulse thaninformationtheatrebecomeschora-graphydialoguetakes placebetweensound andspacedrama,emptiness, in-betweennessareprotagonistsirruption of thereal—notknowingwhethersomething isreal or notpost-anthropocentriccoldnessofcharactersbody’spresenceover logosphenomenonovernarrativetheatre ofstates andscenicallydynamicformationsreplacementof actionwithceremonyreminders ofreading/speakinga text = unnaturalfragmentaryand partialheterogenous,individualimaginationsmoremanifestationthansignificationresemblesstructuresof dreamsan event(feast, debate,public action,politicalmanifestation)a theatre of thepresent, notintermediarybut continuouspoint ofpresentnesstheatre ofperceptibility(we startseeingseeing)rupture ofmeaningbetweenbeing andmeaninghumanbeingsbecomegesticsculpturessocial situationfor allparticipants:what youexperiencedepends on allsimultaneitytheatre of thevoice(reverberationof the past)overlapbetweentheatre andperformancearttrustsindividualimpulsesnon-hierarchicalelementsmore sharedthancommunicatedexperienceshockingphysicalitymusicalization= sound is anew languagein the theatre?not an I that speaks butan it through a complexmachinizedcomposition/agencementtext ismerely acomponentmakesceremonialaspect oftheatreimportant for itsown sakeplethora,overabundance,hypernaturalism—theatre ofpropsmorepresence thanrepresentationmoreprocessthanproducta timeof thegazemicrostructuresof textdensity ofsigns—ornot (therebyactivatingimagination)open andfragmentingperceptionaims atsynaesthesiaabandonsitself tochance/riskno aestheticdistance (weare part of acommonsituation)polyglossiavisualdramaturgythroughscenographymoreenergeticimpulse thaninformationtheatrebecomeschora-graphydialoguetakes placebetweensound andspacedrama,emptiness, in-betweennessareprotagonistsirruption of thereal—notknowingwhethersomething isreal or notpost-anthropocentriccoldnessofcharactersbody’spresenceover logosphenomenonovernarrativetheatre ofstates andscenicallydynamicformationsreplacementof actionwithceremonyreminders ofreading/speakinga text = unnaturalfragmentaryand partialheterogenous,individualimaginationsmoremanifestationthansignificationresemblesstructuresof dreamsan event(feast, debate,public action,politicalmanifestation)a theatre of thepresent, notintermediarybut continuouspoint ofpresentnesstheatre ofperceptibility(we startseeingseeing)rupture ofmeaningbetweenbeing andmeaninghumanbeingsbecomegesticsculpturessocial situationfor allparticipants:what youexperiencedepends on allsimultaneitytheatre of thevoice(reverberationof the past)overlapbetweentheatre andperformancearttrustsindividualimpulsesnon-hierarchicalelementsmore sharedthancommunicatedexperienceshockingphysicalitymusicalization= sound is anew languagein the theatre?not an I that speaks butan it through a complexmachinizedcomposition/agencementtext ismerely acomponentmakesceremonialaspect oftheatreimportant for itsown sakeplethora,overabundance,hypernaturalism—theatre ofpropsmorepresence thanrepresentationmoreprocessthanproduct

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