fragmentaryand partialcoldnessofcharactersmusicalization= sound is anew languagein the theatre?replacementof actionwithceremonysimultaneityheterogenous,individualimaginationsresemblesstructuresof dreamsopen andfragmentingperceptionmorepresence thanrepresentationvisualdramaturgythroughscenographymoreprocessthanproductphenomenonovernarrativepolyglossiatrustsindividualimpulsesoverlapbetweentheatre andperformanceartdrama,emptiness, in-betweennessareprotagonistsirruption of thereal—notknowingwhethersomething isreal or notmoremanifestationthansignificationnon-hierarchicalelementstheatre of thevoice(reverberationof the past)a theatre of thepresent, notintermediarybut continuouspoint ofpresentnesstheatrebecomeschora-graphymicrostructuresof textabandonsitself tochance/riskmakesceremonialaspect oftheatreimportant for itsown sakepost-anthropocentricnot an I that speaks butan it through a complexmachinizedcomposition/agencementrupture ofmeaningbetweenbeing andmeaningan event(feast, debate,public action,politicalmanifestation)more sharedthancommunicatedexperienceaims atsynaesthesiadensity ofsigns—ornot (therebyactivatingimagination)theatre ofperceptibility(we startseeingseeing)humanbeingsbecomegesticsculpturesplethora,overabundance,hypernaturalism—theatre ofpropsbody’spresenceover logosmoreenergeticimpulse thaninformationreminders ofreading/speakinga text = unnaturalsocial situationfor allparticipants:what youexperiencedepends on alltheatre ofstates andscenicallydynamicformationstext ismerely acomponentdialoguetakes placebetweensound andspaceshockingphysicalityno aestheticdistance (weare part of acommonsituation)a timeof thegazefragmentaryand partialcoldnessofcharactersmusicalization= sound is anew languagein the theatre?replacementof actionwithceremonysimultaneityheterogenous,individualimaginationsresemblesstructuresof dreamsopen andfragmentingperceptionmorepresence thanrepresentationvisualdramaturgythroughscenographymoreprocessthanproductphenomenonovernarrativepolyglossiatrustsindividualimpulsesoverlapbetweentheatre andperformanceartdrama,emptiness, in-betweennessareprotagonistsirruption of thereal—notknowingwhethersomething isreal or notmoremanifestationthansignificationnon-hierarchicalelementstheatre of thevoice(reverberationof the past)a theatre of thepresent, notintermediarybut continuouspoint ofpresentnesstheatrebecomeschora-graphymicrostructuresof textabandonsitself tochance/riskmakesceremonialaspect oftheatreimportant for itsown sakepost-anthropocentricnot an I that speaks butan it through a complexmachinizedcomposition/agencementrupture ofmeaningbetweenbeing andmeaningan event(feast, debate,public action,politicalmanifestation)more sharedthancommunicatedexperienceaims atsynaesthesiadensity ofsigns—ornot (therebyactivatingimagination)theatre ofperceptibility(we startseeingseeing)humanbeingsbecomegesticsculpturesplethora,overabundance,hypernaturalism—theatre ofpropsbody’spresenceover logosmoreenergeticimpulse thaninformationreminders ofreading/speakinga text = unnaturalsocial situationfor allparticipants:what youexperiencedepends on alltheatre ofstates andscenicallydynamicformationstext ismerely acomponentdialoguetakes placebetweensound andspaceshockingphysicalityno aestheticdistance (weare part of acommonsituation)a timeof thegaze

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