drama,emptiness, in-betweennessareprotagonistsno aestheticdistance (weare part of acommonsituation)phenomenonovernarrativemusicalization= sound is anew languagein the theatre?a theatre of thepresent, notintermediarybut continuouspoint ofpresentnesstrustsindividualimpulsesmakesceremonialaspect oftheatreimportant for itsown saketheatre ofstates andscenicallydynamicformationsreplacementof actionwithceremonyplethora,overabundance,hypernaturalism—theatre ofpropsnot an I that speaks butan it through a complexmachinizedcomposition/agencementheterogenous,individualimaginationsaims atsynaesthesiatheatre ofperceptibility(we startseeingseeing)an event(feast, debate,public action,politicalmanifestation)a timeof thegazereminders ofreading/speakinga text = unnaturalfragmentaryand partialpost-anthropocentricopen andfragmentingperceptioncoldnessofcharactersoverlapbetweentheatre andperformanceartshockingphysicalityvisualdramaturgythroughscenographyrupture ofmeaningbetweenbeing andmeaningtext ismerely acomponentmorepresence thanrepresentationmicrostructuresof texttheatrebecomeschora-graphyirruption of thereal—notknowingwhethersomething isreal or notabandonsitself tochance/riskbody’spresenceover logosnon-hierarchicalelementsdensity ofsigns—ornot (therebyactivatingimagination)humanbeingsbecomegesticsculpturesmore sharedthancommunicatedexperiencemoremanifestationthansignificationdialoguetakes placebetweensound andspacesimultaneitysocial situationfor allparticipants:what youexperiencedepends on alltheatre of thevoice(reverberationof the past)resemblesstructuresof dreamsmoreprocessthanproductmoreenergeticimpulse thaninformationpolyglossiadrama,emptiness, in-betweennessareprotagonistsno aestheticdistance (weare part of acommonsituation)phenomenonovernarrativemusicalization= sound is anew languagein the theatre?a theatre of thepresent, notintermediarybut continuouspoint ofpresentnesstrustsindividualimpulsesmakesceremonialaspect oftheatreimportant for itsown saketheatre ofstates andscenicallydynamicformationsreplacementof actionwithceremonyplethora,overabundance,hypernaturalism—theatre ofpropsnot an I that speaks butan it through a complexmachinizedcomposition/agencementheterogenous,individualimaginationsaims atsynaesthesiatheatre ofperceptibility(we startseeingseeing)an event(feast, debate,public action,politicalmanifestation)a timeof thegazereminders ofreading/speakinga text = unnaturalfragmentaryand partialpost-anthropocentricopen andfragmentingperceptioncoldnessofcharactersoverlapbetweentheatre andperformanceartshockingphysicalityvisualdramaturgythroughscenographyrupture ofmeaningbetweenbeing andmeaningtext ismerely acomponentmorepresence thanrepresentationmicrostructuresof texttheatrebecomeschora-graphyirruption of thereal—notknowingwhethersomething isreal or notabandonsitself tochance/riskbody’spresenceover logosnon-hierarchicalelementsdensity ofsigns—ornot (therebyactivatingimagination)humanbeingsbecomegesticsculpturesmore sharedthancommunicatedexperiencemoremanifestationthansignificationdialoguetakes placebetweensound andspacesimultaneitysocial situationfor allparticipants:what youexperiencedepends on alltheatre of thevoice(reverberationof the past)resemblesstructuresof dreamsmoreprocessthanproductmoreenergeticimpulse thaninformationpolyglossia

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.


1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
  1. drama, emptiness, in-betweenness are protagonists
  2. no aesthetic distance (we are part of a common situation)
  3. phenomenon over narrative
  4. musicalization = sound is a new language in the theatre?
  5. a theatre of the present, not intermediary but continuous point of presentness
  6. trusts individual impulses
  7. makes ceremonial aspect of theatre important for its own sake
  8. theatre of states and scenically dynamic formations
  9. replacement of action with ceremony
  10. plethora, overabundance, hypernaturalism—theatre of props
  11. not an I that speaks but an it through a complex machinized composition/agencement
  12. heterogenous, individual imaginations
  13. aims at synaesthesia
  14. theatre of perceptibility (we start seeing seeing)
  15. an event (feast, debate, public action, political manifestation)
  16. a time of the gaze
  17. reminders of reading/speaking a text = unnatural
  18. fragmentary and partial
  19. post-anthropocentric
  20. open and fragmenting perception
  21. coldness of characters
  22. overlap between theatre and performance art
  23. shocking physicality
  24. visual dramaturgy through scenography
  25. rupture of meaning between being and meaning
  26. text is merely a component
  27. more presence than representation
  28. microstructures of text
  29. theatre becomes chora-graphy
  30. irruption of the real—not knowing whether something is real or not
  31. abandons itself to chance/risk
  32. body’s presence over logos
  33. non-hierarchical elements
  34. density of signs—or not (thereby activating imagination)
  35. human beings become gestic sculptures
  36. more shared than communicated experience
  37. more manifestation than signification
  38. dialogue takes place between sound and space
  39. simultaneity
  40. social situation for all participants: what you experience depends on all
  41. theatre of the voice (reverberation of the past)
  42. resembles structures of dreams
  43. more process than product
  44. more energetic impulse than information
  45. polyglossia