visualdramaturgythroughscenographya theatre of thepresent, notintermediarybut continuouspoint ofpresentnesstheatre of thevoice(reverberationof the past)resemblesstructuresof dreamstrustsindividualimpulsesrupture ofmeaningbetweenbeing andmeaningmoreenergeticimpulse thaninformationmoremanifestationthansignificationmusicalization= sound is anew languagein the theatre?text ismerely acomponentbody’spresenceover logosplethora,overabundance,hypernaturalism—theatre ofpropsno aestheticdistance (weare part of acommonsituation)fragmentaryand partialpolyglossiaa timeof thegazephenomenonovernarrativereminders ofreading/speakinga text = unnaturalheterogenous,individualimaginationsmoreprocessthanproducttheatre ofperceptibility(we startseeingseeing)aims atsynaesthesiasocial situationfor allparticipants:what youexperiencedepends on allnot an I that speaks butan it through a complexmachinizedcomposition/agencementtheatrebecomeschora-graphyirruption of thereal—notknowingwhethersomething isreal or notabandonsitself tochance/riskhumanbeingsbecomegesticsculpturescoldnessofcharactersmore sharedthancommunicatedexperiencereplacementof actionwithceremonyopen andfragmentingperceptionnon-hierarchicalelementsdensity ofsigns—ornot (therebyactivatingimagination)overlapbetweentheatre andperformanceartmicrostructuresof textmakesceremonialaspect oftheatreimportant for itsown sakemorepresence thanrepresentationdialoguetakes placebetweensound andspaceshockingphysicalitytheatre ofstates andscenicallydynamicformationspost-anthropocentrican event(feast, debate,public action,politicalmanifestation)simultaneitydrama,emptiness, in-betweennessareprotagonistsvisualdramaturgythroughscenographya theatre of thepresent, notintermediarybut continuouspoint ofpresentnesstheatre of thevoice(reverberationof the past)resemblesstructuresof dreamstrustsindividualimpulsesrupture ofmeaningbetweenbeing andmeaningmoreenergeticimpulse thaninformationmoremanifestationthansignificationmusicalization= sound is anew languagein the theatre?text ismerely acomponentbody’spresenceover logosplethora,overabundance,hypernaturalism—theatre ofpropsno aestheticdistance (weare part of acommonsituation)fragmentaryand partialpolyglossiaa timeof thegazephenomenonovernarrativereminders ofreading/speakinga text = unnaturalheterogenous,individualimaginationsmoreprocessthanproducttheatre ofperceptibility(we startseeingseeing)aims atsynaesthesiasocial situationfor allparticipants:what youexperiencedepends on allnot an I that speaks butan it through a complexmachinizedcomposition/agencementtheatrebecomeschora-graphyirruption of thereal—notknowingwhethersomething isreal or notabandonsitself tochance/riskhumanbeingsbecomegesticsculpturescoldnessofcharactersmore sharedthancommunicatedexperiencereplacementof actionwithceremonyopen andfragmentingperceptionnon-hierarchicalelementsdensity ofsigns—ornot (therebyactivatingimagination)overlapbetweentheatre andperformanceartmicrostructuresof textmakesceremonialaspect oftheatreimportant for itsown sakemorepresence thanrepresentationdialoguetakes placebetweensound andspaceshockingphysicalitytheatre ofstates andscenicallydynamicformationspost-anthropocentrican event(feast, debate,public action,politicalmanifestation)simultaneitydrama,emptiness, in-betweennessareprotagonists

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