trustsindividualimpulsesaims atsynaesthesiamicrostructuresof textdensity ofsigns—ornot (therebyactivatingimagination)more sharedthancommunicatedexperiencephenomenonovernarrativemoreenergeticimpulse thaninformationshockingphysicalityrupture ofmeaningbetweenbeing andmeaningvisualdramaturgythroughscenographyreplacementof actionwithceremonycoldnessofcharacterspolyglossiamoreprocessthanproductmusicalization= sound is anew languagein the theatre?drama,emptiness, in-betweennessareprotagonistsa theatre of thepresent, notintermediarybut continuouspoint ofpresentnesssimultaneityresemblesstructuresof dreamsno aestheticdistance (weare part of acommonsituation)theatre ofstates andscenicallydynamicformationsirruption of thereal—notknowingwhethersomething isreal or notmorepresence thanrepresentationreminders ofreading/speakinga text = unnaturalnot an I that speaks butan it through a complexmachinizedcomposition/agencementtheatre of thevoice(reverberationof the past)a timeof thegazeabandonsitself tochance/risknon-hierarchicalelementsheterogenous,individualimaginationsbody’spresenceover logostheatre ofperceptibility(we startseeingseeing)an event(feast, debate,public action,politicalmanifestation)social situationfor allparticipants:what youexperiencedepends on allpost-anthropocentricdialoguetakes placebetweensound andspacemakesceremonialaspect oftheatreimportant for itsown saketheatrebecomeschora-graphymoremanifestationthansignificationfragmentaryand partialtext ismerely acomponentoverlapbetweentheatre andperformanceartplethora,overabundance,hypernaturalism—theatre ofpropshumanbeingsbecomegesticsculpturesopen andfragmentingperceptiontrustsindividualimpulsesaims atsynaesthesiamicrostructuresof textdensity ofsigns—ornot (therebyactivatingimagination)more sharedthancommunicatedexperiencephenomenonovernarrativemoreenergeticimpulse thaninformationshockingphysicalityrupture ofmeaningbetweenbeing andmeaningvisualdramaturgythroughscenographyreplacementof actionwithceremonycoldnessofcharacterspolyglossiamoreprocessthanproductmusicalization= sound is anew languagein the theatre?drama,emptiness, in-betweennessareprotagonistsa theatre of thepresent, notintermediarybut continuouspoint ofpresentnesssimultaneityresemblesstructuresof dreamsno aestheticdistance (weare part of acommonsituation)theatre ofstates andscenicallydynamicformationsirruption of thereal—notknowingwhethersomething isreal or notmorepresence thanrepresentationreminders ofreading/speakinga text = unnaturalnot an I that speaks butan it through a complexmachinizedcomposition/agencementtheatre of thevoice(reverberationof the past)a timeof thegazeabandonsitself tochance/risknon-hierarchicalelementsheterogenous,individualimaginationsbody’spresenceover logostheatre ofperceptibility(we startseeingseeing)an event(feast, debate,public action,politicalmanifestation)social situationfor allparticipants:what youexperiencedepends on allpost-anthropocentricdialoguetakes placebetweensound andspacemakesceremonialaspect oftheatreimportant for itsown saketheatrebecomeschora-graphymoremanifestationthansignificationfragmentaryand partialtext ismerely acomponentoverlapbetweentheatre andperformanceartplethora,overabundance,hypernaturalism—theatre ofpropshumanbeingsbecomegesticsculpturesopen andfragmentingperception

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