body’spresenceover logosmore sharedthancommunicatedexperiencedensity ofsigns—ornot (therebyactivatingimagination)shockingphysicalitymusicalization= sound is anew languagein the theatre?overlapbetweentheatre andperformanceartreminders ofreading/speakinga text = unnaturaltrustsindividualimpulsesrupture ofmeaningbetweenbeing andmeaningtheatrebecomeschora-graphyopen andfragmentingperceptionreplacementof actionwithceremonytheatre of thevoice(reverberationof the past)not an I that speaks butan it through a complexmachinizedcomposition/agencementno aestheticdistance (weare part of acommonsituation)polyglossiafragmentaryand partialphenomenonovernarrativean event(feast, debate,public action,politicalmanifestation)a theatre of thepresent, notintermediarybut continuouspoint ofpresentnessplethora,overabundance,hypernaturalism—theatre ofpropssimultaneitymakesceremonialaspect oftheatreimportant for itsown saketheatre ofperceptibility(we startseeingseeing)moremanifestationthansignificationsocial situationfor allparticipants:what youexperiencedepends on allheterogenous,individualimaginationsresemblesstructuresof dreamsdrama,emptiness, in-betweennessareprotagonistsdialoguetakes placebetweensound andspacecoldnessofcharacterstext ismerely acomponenthumanbeingsbecomegesticsculpturesvisualdramaturgythroughscenographymoreenergeticimpulse thaninformationa timeof thegazemoreprocessthanproductabandonsitself tochance/riskirruption of thereal—notknowingwhethersomething isreal or notpost-anthropocentrictheatre ofstates andscenicallydynamicformationsmorepresence thanrepresentationnon-hierarchicalelementsaims atsynaesthesiamicrostructuresof textbody’spresenceover logosmore sharedthancommunicatedexperiencedensity ofsigns—ornot (therebyactivatingimagination)shockingphysicalitymusicalization= sound is anew languagein the theatre?overlapbetweentheatre andperformanceartreminders ofreading/speakinga text = unnaturaltrustsindividualimpulsesrupture ofmeaningbetweenbeing andmeaningtheatrebecomeschora-graphyopen andfragmentingperceptionreplacementof actionwithceremonytheatre of thevoice(reverberationof the past)not an I that speaks butan it through a complexmachinizedcomposition/agencementno aestheticdistance (weare part of acommonsituation)polyglossiafragmentaryand partialphenomenonovernarrativean event(feast, debate,public action,politicalmanifestation)a theatre of thepresent, notintermediarybut continuouspoint ofpresentnessplethora,overabundance,hypernaturalism—theatre ofpropssimultaneitymakesceremonialaspect oftheatreimportant for itsown saketheatre ofperceptibility(we startseeingseeing)moremanifestationthansignificationsocial situationfor allparticipants:what youexperiencedepends on allheterogenous,individualimaginationsresemblesstructuresof dreamsdrama,emptiness, in-betweennessareprotagonistsdialoguetakes placebetweensound andspacecoldnessofcharacterstext ismerely acomponenthumanbeingsbecomegesticsculpturesvisualdramaturgythroughscenographymoreenergeticimpulse thaninformationa timeof thegazemoreprocessthanproductabandonsitself tochance/riskirruption of thereal—notknowingwhethersomething isreal or notpost-anthropocentrictheatre ofstates andscenicallydynamicformationsmorepresence thanrepresentationnon-hierarchicalelementsaims atsynaesthesiamicrostructuresof text

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