microstructuresof textcoldnessofcharactersan event(feast, debate,public action,politicalmanifestation)non-hierarchicalelementsmusicalization= sound is anew languagein the theatre?irruption of thereal—notknowingwhethersomething isreal or nota timeof thegazephenomenonovernarrativetheatre ofperceptibility(we startseeingseeing)overlapbetweentheatre andperformancearttrustsindividualimpulsespost-anthropocentricmoreprocessthanproductdensity ofsigns—ornot (therebyactivatingimagination)a theatre of thepresent, notintermediarybut continuouspoint ofpresentnesshumanbeingsbecomegesticsculpturesreplacementof actionwithceremonyheterogenous,individualimaginationsplethora,overabundance,hypernaturalism—theatre ofpropstheatre ofstates andscenicallydynamicformationssimultaneityshockingphysicalityresemblesstructuresof dreamsmakesceremonialaspect oftheatreimportant for itsown sakerupture ofmeaningbetweenbeing andmeaningbody’spresenceover logostheatre of thevoice(reverberationof the past)fragmentaryand partialdrama,emptiness, in-betweennessareprotagonistsmorepresence thanrepresentationtheatrebecomeschora-graphymoreenergeticimpulse thaninformationmoremanifestationthansignificationmore sharedthancommunicatedexperiencetext ismerely acomponentopen andfragmentingperceptionvisualdramaturgythroughscenographyreminders ofreading/speakinga text = unnaturalaims atsynaesthesiano aestheticdistance (weare part of acommonsituation)not an I that speaks butan it through a complexmachinizedcomposition/agencementabandonsitself tochance/risksocial situationfor allparticipants:what youexperiencedepends on alldialoguetakes placebetweensound andspacepolyglossiamicrostructuresof textcoldnessofcharactersan event(feast, debate,public action,politicalmanifestation)non-hierarchicalelementsmusicalization= sound is anew languagein the theatre?irruption of thereal—notknowingwhethersomething isreal or nota timeof thegazephenomenonovernarrativetheatre ofperceptibility(we startseeingseeing)overlapbetweentheatre andperformancearttrustsindividualimpulsespost-anthropocentricmoreprocessthanproductdensity ofsigns—ornot (therebyactivatingimagination)a theatre of thepresent, notintermediarybut continuouspoint ofpresentnesshumanbeingsbecomegesticsculpturesreplacementof actionwithceremonyheterogenous,individualimaginationsplethora,overabundance,hypernaturalism—theatre ofpropstheatre ofstates andscenicallydynamicformationssimultaneityshockingphysicalityresemblesstructuresof dreamsmakesceremonialaspect oftheatreimportant for itsown sakerupture ofmeaningbetweenbeing andmeaningbody’spresenceover logostheatre of thevoice(reverberationof the past)fragmentaryand partialdrama,emptiness, in-betweennessareprotagonistsmorepresence thanrepresentationtheatrebecomeschora-graphymoreenergeticimpulse thaninformationmoremanifestationthansignificationmore sharedthancommunicatedexperiencetext ismerely acomponentopen andfragmentingperceptionvisualdramaturgythroughscenographyreminders ofreading/speakinga text = unnaturalaims atsynaesthesiano aestheticdistance (weare part of acommonsituation)not an I that speaks butan it through a complexmachinizedcomposition/agencementabandonsitself tochance/risksocial situationfor allparticipants:what youexperiencedepends on alldialoguetakes placebetweensound andspacepolyglossia

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