reminders ofreading/speakinga text = unnaturalpolyglossiaabandonsitself tochance/riskaims atsynaesthesiamoreprocessthanproductbody’spresenceover logostheatre ofperceptibility(we startseeingseeing)coldnessofcharactersmusicalization= sound is anew languagein the theatre?phenomenonovernarrativedialoguetakes placebetweensound andspacetrustsindividualimpulsesmicrostructuresof textheterogenous,individualimaginationsdrama,emptiness, in-betweennessareprotagonistssimultaneityan event(feast, debate,public action,politicalmanifestation)irruption of thereal—notknowingwhethersomething isreal or notsocial situationfor allparticipants:what youexperiencedepends on allplethora,overabundance,hypernaturalism—theatre ofpropspost-anthropocentricmoremanifestationthansignificationvisualdramaturgythroughscenographyshockingphysicalitynon-hierarchicalelementsopen andfragmentingperceptiontext ismerely acomponentmoreenergeticimpulse thaninformationmorepresence thanrepresentationoverlapbetweentheatre andperformanceartrupture ofmeaningbetweenbeing andmeaningmakesceremonialaspect oftheatreimportant for itsown sakereplacementof actionwithceremonyno aestheticdistance (weare part of acommonsituation)not an I that speaks butan it through a complexmachinizedcomposition/agencementa timeof thegazea theatre of thepresent, notintermediarybut continuouspoint ofpresentnessresemblesstructuresof dreamsfragmentaryand partialhumanbeingsbecomegesticsculpturesdensity ofsigns—ornot (therebyactivatingimagination)theatrebecomeschora-graphymore sharedthancommunicatedexperiencetheatre ofstates andscenicallydynamicformationstheatre of thevoice(reverberationof the past)reminders ofreading/speakinga text = unnaturalpolyglossiaabandonsitself tochance/riskaims atsynaesthesiamoreprocessthanproductbody’spresenceover logostheatre ofperceptibility(we startseeingseeing)coldnessofcharactersmusicalization= sound is anew languagein the theatre?phenomenonovernarrativedialoguetakes placebetweensound andspacetrustsindividualimpulsesmicrostructuresof textheterogenous,individualimaginationsdrama,emptiness, in-betweennessareprotagonistssimultaneityan event(feast, debate,public action,politicalmanifestation)irruption of thereal—notknowingwhethersomething isreal or notsocial situationfor allparticipants:what youexperiencedepends on allplethora,overabundance,hypernaturalism—theatre ofpropspost-anthropocentricmoremanifestationthansignificationvisualdramaturgythroughscenographyshockingphysicalitynon-hierarchicalelementsopen andfragmentingperceptiontext ismerely acomponentmoreenergeticimpulse thaninformationmorepresence thanrepresentationoverlapbetweentheatre andperformanceartrupture ofmeaningbetweenbeing andmeaningmakesceremonialaspect oftheatreimportant for itsown sakereplacementof actionwithceremonyno aestheticdistance (weare part of acommonsituation)not an I that speaks butan it through a complexmachinizedcomposition/agencementa timeof thegazea theatre of thepresent, notintermediarybut continuouspoint ofpresentnessresemblesstructuresof dreamsfragmentaryand partialhumanbeingsbecomegesticsculpturesdensity ofsigns—ornot (therebyactivatingimagination)theatrebecomeschora-graphymore sharedthancommunicatedexperiencetheatre ofstates andscenicallydynamicformationstheatre of thevoice(reverberationof the past)

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