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