fragmentaryand partialbody’spresenceover logoshumanbeingsbecomegesticsculpturesmorepresence thanrepresentationabandonsitself tochance/riskdialoguetakes placebetweensound andspacepost-anthropocentrica theatre of thepresent, notintermediarybut continuouspoint ofpresentnessdensity ofsigns—ornot (therebyactivatingimagination)no aestheticdistance (weare part of acommonsituation)plethora,overabundance,hypernaturalism—theatre ofpropsmoremanifestationthansignificationtheatre of thevoice(reverberationof the past)rupture ofmeaningbetweenbeing andmeaningmakesceremonialaspect oftheatreimportant for itsown saketheatrebecomeschora-graphytheatre ofperceptibility(we startseeingseeing)theatre ofstates andscenicallydynamicformationsnot an I that speaks butan it through a complexmachinizedcomposition/agencementreplacementof actionwithceremonyheterogenous,individualimaginationsreminders ofreading/speakinga text = unnaturaltext ismerely acomponentnon-hierarchicalelementsmore sharedthancommunicatedexperienceopen andfragmentingperceptionsocial situationfor allparticipants:what youexperiencedepends on allan event(feast, debate,public action,politicalmanifestation)overlapbetweentheatre andperformanceartaims atsynaesthesiamicrostructuresof textdrama,emptiness, in-betweennessareprotagonistsmoreprocessthanproductmusicalization= sound is anew languagein the theatre?trustsindividualimpulsesvisualdramaturgythroughscenographya timeof thegazecoldnessofcharacterssimultaneityirruption of thereal—notknowingwhethersomething isreal or notshockingphysicalityresemblesstructuresof dreamsphenomenonovernarrativemoreenergeticimpulse thaninformationpolyglossiafragmentaryand partialbody’spresenceover logoshumanbeingsbecomegesticsculpturesmorepresence thanrepresentationabandonsitself tochance/riskdialoguetakes placebetweensound andspacepost-anthropocentrica theatre of thepresent, notintermediarybut continuouspoint ofpresentnessdensity ofsigns—ornot (therebyactivatingimagination)no aestheticdistance (weare part of acommonsituation)plethora,overabundance,hypernaturalism—theatre ofpropsmoremanifestationthansignificationtheatre of thevoice(reverberationof the past)rupture ofmeaningbetweenbeing andmeaningmakesceremonialaspect oftheatreimportant for itsown saketheatrebecomeschora-graphytheatre ofperceptibility(we startseeingseeing)theatre ofstates andscenicallydynamicformationsnot an I that speaks butan it through a complexmachinizedcomposition/agencementreplacementof actionwithceremonyheterogenous,individualimaginationsreminders ofreading/speakinga text = unnaturaltext ismerely acomponentnon-hierarchicalelementsmore sharedthancommunicatedexperienceopen andfragmentingperceptionsocial situationfor allparticipants:what youexperiencedepends on allan event(feast, debate,public action,politicalmanifestation)overlapbetweentheatre andperformanceartaims atsynaesthesiamicrostructuresof textdrama,emptiness, in-betweennessareprotagonistsmoreprocessthanproductmusicalization= sound is anew languagein the theatre?trustsindividualimpulsesvisualdramaturgythroughscenographya timeof thegazecoldnessofcharacterssimultaneityirruption of thereal—notknowingwhethersomething isreal or notshockingphysicalityresemblesstructuresof dreamsphenomenonovernarrativemoreenergeticimpulse thaninformationpolyglossia

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