phenomenonovernarrativeheterogenous,individualimaginationsbody’spresenceover logospolyglossiamakesceremonialaspect oftheatreimportant for itsown sakemore sharedthancommunicatedexperiencemoreenergeticimpulse thaninformationmusicalization= sound is anew languagein the theatre?moreprocessthanproductnot an I that speaks butan it through a complexmachinizedcomposition/agencementtheatrebecomeschora-graphyfragmentaryand partialcoldnessofcharactersnon-hierarchicalelementsabandonsitself tochance/risktheatre of thevoice(reverberationof the past)aims atsynaesthesiamorepresence thanrepresentationirruption of thereal—notknowingwhethersomething isreal or nothumanbeingsbecomegesticsculpturesoverlapbetweentheatre andperformancearttheatre ofstates andscenicallydynamicformationsreplacementof actionwithceremonytrustsindividualimpulsesan event(feast, debate,public action,politicalmanifestation)shockingphysicalitytext ismerely acomponentreminders ofreading/speakinga text = unnaturalplethora,overabundance,hypernaturalism—theatre ofpropsrupture ofmeaningbetweenbeing andmeaningmoremanifestationthansignificationdialoguetakes placebetweensound andspacetheatre ofperceptibility(we startseeingseeing)resemblesstructuresof dreamsvisualdramaturgythroughscenographydensity ofsigns—ornot (therebyactivatingimagination)drama,emptiness, in-betweennessareprotagonistspost-anthropocentrica theatre of thepresent, notintermediarybut continuouspoint ofpresentnesssocial situationfor allparticipants:what youexperiencedepends on allsimultaneityno aestheticdistance (weare part of acommonsituation)a timeof thegazemicrostructuresof textopen andfragmentingperceptionphenomenonovernarrativeheterogenous,individualimaginationsbody’spresenceover logospolyglossiamakesceremonialaspect oftheatreimportant for itsown sakemore sharedthancommunicatedexperiencemoreenergeticimpulse thaninformationmusicalization= sound is anew languagein the theatre?moreprocessthanproductnot an I that speaks butan it through a complexmachinizedcomposition/agencementtheatrebecomeschora-graphyfragmentaryand partialcoldnessofcharactersnon-hierarchicalelementsabandonsitself tochance/risktheatre of thevoice(reverberationof the past)aims atsynaesthesiamorepresence thanrepresentationirruption of thereal—notknowingwhethersomething isreal or nothumanbeingsbecomegesticsculpturesoverlapbetweentheatre andperformancearttheatre ofstates andscenicallydynamicformationsreplacementof actionwithceremonytrustsindividualimpulsesan event(feast, debate,public action,politicalmanifestation)shockingphysicalitytext ismerely acomponentreminders ofreading/speakinga text = unnaturalplethora,overabundance,hypernaturalism—theatre ofpropsrupture ofmeaningbetweenbeing andmeaningmoremanifestationthansignificationdialoguetakes placebetweensound andspacetheatre ofperceptibility(we startseeingseeing)resemblesstructuresof dreamsvisualdramaturgythroughscenographydensity ofsigns—ornot (therebyactivatingimagination)drama,emptiness, in-betweennessareprotagonistspost-anthropocentrica theatre of thepresent, notintermediarybut continuouspoint ofpresentnesssocial situationfor allparticipants:what youexperiencedepends on allsimultaneityno aestheticdistance (weare part of acommonsituation)a timeof thegazemicrostructuresof textopen 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. phenomenon over narrative
  2. heterogenous, individual imaginations
  3. body’s presence over logos
  4. polyglossia
  5. makes ceremonial aspect of theatre important for its own sake
  6. more shared than communicated experience
  7. more energetic impulse than information
  8. musicalization = sound is a new language in the theatre?
  9. more process than product
  10. not an I that speaks but an it through a complex machinized composition/agencement
  11. theatre becomes chora-graphy
  12. fragmentary and partial
  13. coldness of characters
  14. non-hierarchical elements
  15. abandons itself to chance/risk
  16. theatre of the voice (reverberation of the past)
  17. aims at synaesthesia
  18. more presence than representation
  19. irruption of the real—not knowing whether something is real or not
  20. human beings become gestic sculptures
  21. overlap between theatre and performance art
  22. theatre of states and scenically dynamic formations
  23. replacement of action with ceremony
  24. trusts individual impulses
  25. an event (feast, debate, public action, political manifestation)
  26. shocking physicality
  27. text is merely a component
  28. reminders of reading/speaking a text = unnatural
  29. plethora, overabundance, hypernaturalism—theatre of props
  30. rupture of meaning between being and meaning
  31. more manifestation than signification
  32. dialogue takes place between sound and space
  33. theatre of perceptibility (we start seeing seeing)
  34. resembles structures of dreams
  35. visual dramaturgy through scenography
  36. density of signs—or not (thereby activating imagination)
  37. drama, emptiness, in-betweenness are protagonists
  38. post-anthropocentric
  39. a theatre of the present, not intermediary but continuous point of presentness
  40. social situation for all participants: what you experience depends on all
  41. simultaneity
  42. no aesthetic distance (we are part of a common situation)
  43. a time of the gaze
  44. microstructures of text
  45. open and fragmenting perception