body’spresenceover logosrupture ofmeaningbetweenbeing andmeaningtext ismerely acomponentdrama,emptiness, in-betweennessareprotagonistsheterogenous,individualimaginationsdialoguetakes placebetweensound andspacevisualdramaturgythroughscenographysimultaneityshockingphysicalitypost-anthropocentricmakesceremonialaspect oftheatreimportant for itsown sakemoreenergeticimpulse thaninformationcoldnessofcharacterstheatrebecomeschora-graphyoverlapbetweentheatre andperformanceartmoremanifestationthansignificationa timeof thegazephenomenonovernarrativehumanbeingsbecomegesticsculpturespolyglossianon-hierarchicalelementsreplacementof actionwithceremonysocial situationfor allparticipants:what youexperiencedepends on allopen andfragmentingperceptionmicrostructuresof textmoreprocessthanproductmore sharedthancommunicatedexperiencemorepresence thanrepresentationtheatre ofstates andscenicallydynamicformationsaims atsynaesthesianot an I that speaks butan it through a complexmachinizedcomposition/agencementdensity ofsigns—ornot (therebyactivatingimagination)plethora,overabundance,hypernaturalism—theatre ofpropsirruption of thereal—notknowingwhethersomething isreal or notresemblesstructuresof dreamsa theatre of thepresent, notintermediarybut continuouspoint ofpresentnesstheatre ofperceptibility(we startseeingseeing)musicalization= sound is anew languagein the theatre?fragmentaryand partialno aestheticdistance (weare part of acommonsituation)abandonsitself tochance/risktrustsindividualimpulsesan event(feast, debate,public action,politicalmanifestation)theatre of thevoice(reverberationof the past)reminders ofreading/speakinga text = unnaturalbody’spresenceover logosrupture ofmeaningbetweenbeing andmeaningtext ismerely acomponentdrama,emptiness, in-betweennessareprotagonistsheterogenous,individualimaginationsdialoguetakes placebetweensound andspacevisualdramaturgythroughscenographysimultaneityshockingphysicalitypost-anthropocentricmakesceremonialaspect oftheatreimportant for itsown sakemoreenergeticimpulse thaninformationcoldnessofcharacterstheatrebecomeschora-graphyoverlapbetweentheatre andperformanceartmoremanifestationthansignificationa timeof thegazephenomenonovernarrativehumanbeingsbecomegesticsculpturespolyglossianon-hierarchicalelementsreplacementof actionwithceremonysocial situationfor allparticipants:what youexperiencedepends on allopen andfragmentingperceptionmicrostructuresof textmoreprocessthanproductmore sharedthancommunicatedexperiencemorepresence thanrepresentationtheatre ofstates andscenicallydynamicformationsaims atsynaesthesianot an I that speaks butan it through a complexmachinizedcomposition/agencementdensity ofsigns—ornot (therebyactivatingimagination)plethora,overabundance,hypernaturalism—theatre ofpropsirruption of thereal—notknowingwhethersomething isreal or notresemblesstructuresof dreamsa theatre of thepresent, notintermediarybut continuouspoint ofpresentnesstheatre ofperceptibility(we startseeingseeing)musicalization= sound is anew languagein the theatre?fragmentaryand partialno aestheticdistance (weare part of acommonsituation)abandonsitself tochance/risktrustsindividualimpulsesan event(feast, debate,public action,politicalmanifestation)theatre of thevoice(reverberationof the past)reminders ofreading/speakinga text = unnatural

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