density ofsigns—ornot (therebyactivatingimagination)non-hierarchicalelementsresemblesstructuresof dreamssimultaneitymoremanifestationthansignificationtrustsindividualimpulsesvisualdramaturgythroughscenographydialoguetakes placebetweensound andspaceoverlapbetweentheatre andperformanceartbody’spresenceover logosmoreprocessthanproductshockingphysicalitymakesceremonialaspect oftheatreimportant for itsown sakemusicalization= sound is anew languagein the theatre?irruption of thereal—notknowingwhethersomething isreal or notnot an I that speaks butan it through a complexmachinizedcomposition/agencementtheatre ofstates andscenicallydynamicformationspost-anthropocentricaims atsynaesthesiaa theatre of thepresent, notintermediarybut continuouspoint ofpresentnessan event(feast, debate,public action,politicalmanifestation)drama,emptiness, in-betweennessareprotagoniststext ismerely acomponenttheatrebecomeschora-graphysocial situationfor allparticipants:what youexperiencedepends on allopen andfragmentingperceptiontheatre of thevoice(reverberationof the past)abandonsitself tochance/riskhumanbeingsbecomegesticsculpturesrupture ofmeaningbetweenbeing andmeaningmicrostructuresof textmorepresence thanrepresentationphenomenonovernarrativeheterogenous,individualimaginationsmore sharedthancommunicatedexperiencea timeof thegazereplacementof actionwithceremonypolyglossiareminders ofreading/speakinga text = unnaturalplethora,overabundance,hypernaturalism—theatre ofpropsmoreenergeticimpulse thaninformationcoldnessofcharactersno aestheticdistance (weare part of acommonsituation)fragmentaryand partialtheatre ofperceptibility(we startseeingseeing)density ofsigns—ornot (therebyactivatingimagination)non-hierarchicalelementsresemblesstructuresof dreamssimultaneitymoremanifestationthansignificationtrustsindividualimpulsesvisualdramaturgythroughscenographydialoguetakes placebetweensound andspaceoverlapbetweentheatre andperformanceartbody’spresenceover logosmoreprocessthanproductshockingphysicalitymakesceremonialaspect oftheatreimportant for itsown sakemusicalization= sound is anew languagein the theatre?irruption of thereal—notknowingwhethersomething isreal or notnot an I that speaks butan it through a complexmachinizedcomposition/agencementtheatre ofstates andscenicallydynamicformationspost-anthropocentricaims atsynaesthesiaa theatre of thepresent, notintermediarybut continuouspoint ofpresentnessan event(feast, debate,public action,politicalmanifestation)drama,emptiness, in-betweennessareprotagoniststext ismerely acomponenttheatrebecomeschora-graphysocial situationfor allparticipants:what youexperiencedepends on allopen andfragmentingperceptiontheatre of thevoice(reverberationof the past)abandonsitself tochance/riskhumanbeingsbecomegesticsculpturesrupture ofmeaningbetweenbeing andmeaningmicrostructuresof textmorepresence thanrepresentationphenomenonovernarrativeheterogenous,individualimaginationsmore sharedthancommunicatedexperiencea timeof thegazereplacementof actionwithceremonypolyglossiareminders ofreading/speakinga text = unnaturalplethora,overabundance,hypernaturalism—theatre ofpropsmoreenergeticimpulse thaninformationcoldnessofcharactersno aestheticdistance (weare part of acommonsituation)fragmentaryand partialtheatre ofperceptibility(we startseeingseeing)

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