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