text ismerely acomponentshockingphysicalitypolyglossiadrama,emptiness, in-betweennessareprotagonistsvisualdramaturgythroughscenographymakesceremonialaspect oftheatreimportant for itsown sakemore sharedthancommunicatedexperienceirruption of thereal—notknowingwhethersomething isreal or notaims atsynaesthesiafragmentaryand partialtheatre ofperceptibility(we startseeingseeing)coldnessofcharacterstheatre ofstates andscenicallydynamicformationsrupture ofmeaningbetweenbeing andmeaningbody’spresenceover logossocial situationfor allparticipants:what youexperiencedepends on allmoreenergeticimpulse thaninformationmusicalization= sound is anew languagein the theatre?moreprocessthanproductmorepresence thanrepresentationplethora,overabundance,hypernaturalism—theatre ofpropspost-anthropocentricopen andfragmentingperceptionoverlapbetweentheatre andperformanceartsimultaneitynot an I that speaks butan it through a complexmachinizedcomposition/agencementreplacementof actionwithceremonytrustsindividualimpulsesno aestheticdistance (weare part of acommonsituation)abandonsitself tochance/risknon-hierarchicalelementsheterogenous,individualimaginationsreminders ofreading/speakinga text = unnaturalresemblesstructuresof dreamsan event(feast, debate,public action,politicalmanifestation)humanbeingsbecomegesticsculpturesa timeof thegazephenomenonovernarrativea theatre of thepresent, notintermediarybut continuouspoint ofpresentnessdensity ofsigns—ornot (therebyactivatingimagination)microstructuresof texttheatrebecomeschora-graphytheatre of thevoice(reverberationof the past)dialoguetakes placebetweensound andspacemoremanifestationthansignificationtext ismerely acomponentshockingphysicalitypolyglossiadrama,emptiness, in-betweennessareprotagonistsvisualdramaturgythroughscenographymakesceremonialaspect oftheatreimportant for itsown sakemore sharedthancommunicatedexperienceirruption of thereal—notknowingwhethersomething isreal or notaims atsynaesthesiafragmentaryand partialtheatre ofperceptibility(we startseeingseeing)coldnessofcharacterstheatre ofstates andscenicallydynamicformationsrupture ofmeaningbetweenbeing andmeaningbody’spresenceover logossocial situationfor allparticipants:what youexperiencedepends on allmoreenergeticimpulse thaninformationmusicalization= sound is anew languagein the theatre?moreprocessthanproductmorepresence thanrepresentationplethora,overabundance,hypernaturalism—theatre ofpropspost-anthropocentricopen andfragmentingperceptionoverlapbetweentheatre andperformanceartsimultaneitynot an I that speaks butan it through a complexmachinizedcomposition/agencementreplacementof actionwithceremonytrustsindividualimpulsesno aestheticdistance (weare part of acommonsituation)abandonsitself tochance/risknon-hierarchicalelementsheterogenous,individualimaginationsreminders ofreading/speakinga text = unnaturalresemblesstructuresof dreamsan event(feast, debate,public action,politicalmanifestation)humanbeingsbecomegesticsculpturesa timeof thegazephenomenonovernarrativea theatre of thepresent, notintermediarybut continuouspoint ofpresentnessdensity ofsigns—ornot (therebyactivatingimagination)microstructuresof texttheatrebecomeschora-graphytheatre of thevoice(reverberationof the past)dialoguetakes placebetweensound andspacemoremanifestationthansignification

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