reminders ofreading/speakinga text = unnaturaldrama,emptiness, in-betweennessareprotagonistsresemblesstructuresof dreamsa theatre of thepresent, notintermediarybut continuouspoint ofpresentnesssocial situationfor allparticipants:what youexperiencedepends on alldensity ofsigns—ornot (therebyactivatingimagination)theatre of thevoice(reverberationof the past)plethora,overabundance,hypernaturalism—theatre ofpropsmoreprocessthanproductsimultaneityno aestheticdistance (weare part of acommonsituation)polyglossiaopen andfragmentingperceptionoverlapbetweentheatre andperformanceartvisualdramaturgythroughscenographyheterogenous,individualimaginationsmoreenergeticimpulse thaninformationtrustsindividualimpulsesshockingphysicalityphenomenonovernarrativea timeof thegazemusicalization= sound is anew languagein the theatre?non-hierarchicalelementsaims atsynaesthesiaabandonsitself tochance/riskdialoguetakes placebetweensound andspacetheatrebecomeschora-graphyan event(feast, debate,public action,politicalmanifestation)fragmentaryand partialnot an I that speaks butan it through a complexmachinizedcomposition/agencementmore sharedthancommunicatedexperiencemorepresence thanrepresentationtheatre ofperceptibility(we startseeingseeing)rupture ofmeaningbetweenbeing andmeaningpost-anthropocentricmicrostructuresof textreplacementof actionwithceremonymoremanifestationthansignificationbody’spresenceover logoshumanbeingsbecomegesticsculpturestheatre ofstates andscenicallydynamicformationstext ismerely acomponentmakesceremonialaspect oftheatreimportant for itsown sakeirruption of thereal—notknowingwhethersomething isreal or notcoldnessofcharactersreminders ofreading/speakinga text = unnaturaldrama,emptiness, in-betweennessareprotagonistsresemblesstructuresof dreamsa theatre of thepresent, notintermediarybut continuouspoint ofpresentnesssocial situationfor allparticipants:what youexperiencedepends on alldensity ofsigns—ornot (therebyactivatingimagination)theatre of thevoice(reverberationof the past)plethora,overabundance,hypernaturalism—theatre ofpropsmoreprocessthanproductsimultaneityno aestheticdistance (weare part of acommonsituation)polyglossiaopen andfragmentingperceptionoverlapbetweentheatre andperformanceartvisualdramaturgythroughscenographyheterogenous,individualimaginationsmoreenergeticimpulse thaninformationtrustsindividualimpulsesshockingphysicalityphenomenonovernarrativea timeof thegazemusicalization= sound is anew languagein the theatre?non-hierarchicalelementsaims atsynaesthesiaabandonsitself tochance/riskdialoguetakes placebetweensound andspacetheatrebecomeschora-graphyan event(feast, debate,public action,politicalmanifestation)fragmentaryand partialnot an I that speaks butan it through a complexmachinizedcomposition/agencementmore sharedthancommunicatedexperiencemorepresence thanrepresentationtheatre ofperceptibility(we startseeingseeing)rupture ofmeaningbetweenbeing andmeaningpost-anthropocentricmicrostructuresof textreplacementof actionwithceremonymoremanifestationthansignificationbody’spresenceover logoshumanbeingsbecomegesticsculpturestheatre ofstates andscenicallydynamicformationstext ismerely acomponentmakesceremonialaspect oftheatreimportant for itsown sakeirruption of thereal—notknowingwhethersomething isreal or notcoldnessofcharacters

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