moreprocessthanproductmoreenergeticimpulse thaninformationnot an I that speaks butan it through a complexmachinizedcomposition/agencementa theatre of thepresent, notintermediarybut continuouspoint ofpresentnessirruption of thereal—notknowingwhethersomething isreal or notdialoguetakes placebetweensound andspacecoldnessofcharactersreplacementof actionwithceremonydrama,emptiness, in-betweennessareprotagonistsresemblesstructuresof dreamsbody’spresenceover logostrustsindividualimpulsesdensity ofsigns—ornot (therebyactivatingimagination)overlapbetweentheatre andperformanceartmoremanifestationthansignificationplethora,overabundance,hypernaturalism—theatre ofpropsreminders ofreading/speakinga text = unnaturalphenomenonovernarrativesimultaneitypost-anthropocentrica timeof thegazean event(feast, debate,public action,politicalmanifestation)humanbeingsbecomegesticsculpturesvisualdramaturgythroughscenographyopen andfragmentingperceptiontheatre of thevoice(reverberationof the past)shockingphysicalityfragmentaryand partialmakesceremonialaspect oftheatreimportant for itsown sakemore sharedthancommunicatedexperiencetheatre ofperceptibility(we startseeingseeing)non-hierarchicalelementsheterogenous,individualimaginationsabandonsitself tochance/riskmusicalization= sound is anew languagein the theatre?theatrebecomeschora-graphymorepresence thanrepresentationrupture ofmeaningbetweenbeing andmeaningtheatre ofstates andscenicallydynamicformationsmicrostructuresof textno aestheticdistance (weare part of acommonsituation)aims atsynaesthesiapolyglossiatext ismerely acomponentsocial situationfor allparticipants:what youexperiencedepends on allmoreprocessthanproductmoreenergeticimpulse thaninformationnot an I that speaks butan it through a complexmachinizedcomposition/agencementa theatre of thepresent, notintermediarybut continuouspoint ofpresentnessirruption of thereal—notknowingwhethersomething isreal or notdialoguetakes placebetweensound andspacecoldnessofcharactersreplacementof actionwithceremonydrama,emptiness, in-betweennessareprotagonistsresemblesstructuresof dreamsbody’spresenceover logostrustsindividualimpulsesdensity ofsigns—ornot (therebyactivatingimagination)overlapbetweentheatre andperformanceartmoremanifestationthansignificationplethora,overabundance,hypernaturalism—theatre ofpropsreminders ofreading/speakinga text = unnaturalphenomenonovernarrativesimultaneitypost-anthropocentrica timeof thegazean event(feast, debate,public action,politicalmanifestation)humanbeingsbecomegesticsculpturesvisualdramaturgythroughscenographyopen andfragmentingperceptiontheatre of thevoice(reverberationof the past)shockingphysicalityfragmentaryand partialmakesceremonialaspect oftheatreimportant for itsown sakemore sharedthancommunicatedexperiencetheatre ofperceptibility(we startseeingseeing)non-hierarchicalelementsheterogenous,individualimaginationsabandonsitself tochance/riskmusicalization= sound is anew languagein the theatre?theatrebecomeschora-graphymorepresence thanrepresentationrupture ofmeaningbetweenbeing andmeaningtheatre ofstates andscenicallydynamicformationsmicrostructuresof textno aestheticdistance (weare part of acommonsituation)aims atsynaesthesiapolyglossiatext ismerely acomponentsocial situationfor allparticipants:what youexperiencedepends on all

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.


1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
  1. more process than product
  2. more energetic impulse than information
  3. not an I that speaks but an it through a complex machinized composition/agencement
  4. a theatre of the present, not intermediary but continuous point of presentness
  5. irruption of the real—not knowing whether something is real or not
  6. dialogue takes place between sound and space
  7. coldness of characters
  8. replacement of action with ceremony
  9. drama, emptiness, in-betweenness are protagonists
  10. resembles structures of dreams
  11. body’s presence over logos
  12. trusts individual impulses
  13. density of signs—or not (thereby activating imagination)
  14. overlap between theatre and performance art
  15. more manifestation than signification
  16. plethora, overabundance, hypernaturalism—theatre of props
  17. reminders of reading/speaking a text = unnatural
  18. phenomenon over narrative
  19. simultaneity
  20. post-anthropocentric
  21. a time of the gaze
  22. an event (feast, debate, public action, political manifestation)
  23. human beings become gestic sculptures
  24. visual dramaturgy through scenography
  25. open and fragmenting perception
  26. theatre of the voice (reverberation of the past)
  27. shocking physicality
  28. fragmentary and partial
  29. makes ceremonial aspect of theatre important for its own sake
  30. more shared than communicated experience
  31. theatre of perceptibility (we start seeing seeing)
  32. non-hierarchical elements
  33. heterogenous, individual imaginations
  34. abandons itself to chance/risk
  35. musicalization = sound is a new language in the theatre?
  36. theatre becomes chora-graphy
  37. more presence than representation
  38. rupture of meaning between being and meaning
  39. theatre of states and scenically dynamic formations
  40. microstructures of text
  41. no aesthetic distance (we are part of a common situation)
  42. aims at synaesthesia
  43. polyglossia
  44. text is merely a component
  45. social situation for all participants: what you experience depends on all