aims atsynaesthesiadensity ofsigns—ornot (therebyactivatingimagination)visualdramaturgythroughscenographytrustsindividualimpulsesnon-hierarchicalelementsheterogenous,individualimaginationsan event(feast, debate,public action,politicalmanifestation)humanbeingsbecomegesticsculpturesbody’spresenceover logossocial situationfor allparticipants:what youexperiencedepends on alltheatre ofperceptibility(we startseeingseeing)simultaneitya theatre of thepresent, notintermediarybut continuouspoint ofpresentnessmusicalization= sound is anew languagein the theatre?coldnessofcharacterstext ismerely acomponentabandonsitself tochance/riskreminders ofreading/speakinga text = unnaturalpolyglossiairruption of thereal—notknowingwhethersomething isreal or nottheatrebecomeschora-graphyresemblesstructuresof dreamsmoreprocessthanproductno aestheticdistance (weare part of acommonsituation)more sharedthancommunicatedexperiencenot an I that speaks butan it through a complexmachinizedcomposition/agencementfragmentaryand partialpost-anthropocentricmorepresence thanrepresentationshockingphysicalityphenomenonovernarrativea timeof thegazemoremanifestationthansignificationtheatre of thevoice(reverberationof the past)microstructuresof textrupture ofmeaningbetweenbeing andmeaningtheatre ofstates andscenicallydynamicformationsreplacementof actionwithceremonyplethora,overabundance,hypernaturalism—theatre ofpropsdialoguetakes placebetweensound andspaceoverlapbetweentheatre andperformanceartdrama,emptiness, in-betweennessareprotagonistsopen andfragmentingperceptionmakesceremonialaspect oftheatreimportant for itsown sakemoreenergeticimpulse thaninformationaims atsynaesthesiadensity ofsigns—ornot (therebyactivatingimagination)visualdramaturgythroughscenographytrustsindividualimpulsesnon-hierarchicalelementsheterogenous,individualimaginationsan event(feast, debate,public action,politicalmanifestation)humanbeingsbecomegesticsculpturesbody’spresenceover logossocial situationfor allparticipants:what youexperiencedepends on alltheatre ofperceptibility(we startseeingseeing)simultaneitya theatre of thepresent, notintermediarybut continuouspoint ofpresentnessmusicalization= sound is anew languagein the theatre?coldnessofcharacterstext ismerely acomponentabandonsitself tochance/riskreminders ofreading/speakinga text = unnaturalpolyglossiairruption of thereal—notknowingwhethersomething isreal or nottheatrebecomeschora-graphyresemblesstructuresof dreamsmoreprocessthanproductno aestheticdistance (weare part of acommonsituation)more sharedthancommunicatedexperiencenot an I that speaks butan it through a complexmachinizedcomposition/agencementfragmentaryand partialpost-anthropocentricmorepresence thanrepresentationshockingphysicalityphenomenonovernarrativea timeof thegazemoremanifestationthansignificationtheatre of thevoice(reverberationof the past)microstructuresof textrupture ofmeaningbetweenbeing andmeaningtheatre ofstates andscenicallydynamicformationsreplacementof actionwithceremonyplethora,overabundance,hypernaturalism—theatre ofpropsdialoguetakes placebetweensound andspaceoverlapbetweentheatre andperformanceartdrama,emptiness, in-betweennessareprotagonistsopen andfragmentingperceptionmakesceremonialaspect oftheatreimportant for itsown sakemoreenergeticimpulse thaninformation

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