non-hierarchicalelementsdensity ofsigns—ornot (therebyactivatingimagination)dialoguetakes placebetweensound andspacecoldnessofcharactersnot an I that speaks butan it through a complexmachinizedcomposition/agencementaims atsynaesthesiasocial situationfor allparticipants:what youexperiencedepends on alloverlapbetweentheatre andperformanceartrupture ofmeaningbetweenbeing andmeaningheterogenous,individualimaginationsabandonsitself tochance/riskan event(feast, debate,public action,politicalmanifestation)morepresence thanrepresentationpost-anthropocentrictext ismerely acomponentpolyglossiadrama,emptiness, in-betweennessareprotagonistsmakesceremonialaspect oftheatreimportant for itsown saketheatre of thevoice(reverberationof the past)theatrebecomeschora-graphyphenomenonovernarrativeno aestheticdistance (weare part of acommonsituation)microstructuresof textmoremanifestationthansignificationtheatre ofperceptibility(we startseeingseeing)resemblesstructuresof dreamsopen andfragmentingperceptionreplacementof actionwithceremonymusicalization= sound is anew languagein the theatre?reminders ofreading/speakinga text = unnaturalplethora,overabundance,hypernaturalism—theatre ofpropsmore sharedthancommunicatedexperiencesimultaneitya timeof thegazeshockingphysicalitya theatre of thepresent, notintermediarybut continuouspoint ofpresentnessbody’spresenceover logosmoreenergeticimpulse thaninformationtrustsindividualimpulsesfragmentaryand partialirruption of thereal—notknowingwhethersomething isreal or nothumanbeingsbecomegesticsculpturestheatre ofstates andscenicallydynamicformationsvisualdramaturgythroughscenographymoreprocessthanproductnon-hierarchicalelementsdensity ofsigns—ornot (therebyactivatingimagination)dialoguetakes placebetweensound andspacecoldnessofcharactersnot an I that speaks butan it through a complexmachinizedcomposition/agencementaims atsynaesthesiasocial situationfor allparticipants:what youexperiencedepends on alloverlapbetweentheatre andperformanceartrupture ofmeaningbetweenbeing andmeaningheterogenous,individualimaginationsabandonsitself tochance/riskan event(feast, debate,public action,politicalmanifestation)morepresence thanrepresentationpost-anthropocentrictext ismerely acomponentpolyglossiadrama,emptiness, in-betweennessareprotagonistsmakesceremonialaspect oftheatreimportant for itsown saketheatre of thevoice(reverberationof the past)theatrebecomeschora-graphyphenomenonovernarrativeno aestheticdistance (weare part of acommonsituation)microstructuresof textmoremanifestationthansignificationtheatre ofperceptibility(we startseeingseeing)resemblesstructuresof dreamsopen andfragmentingperceptionreplacementof actionwithceremonymusicalization= sound is anew languagein the theatre?reminders ofreading/speakinga text = unnaturalplethora,overabundance,hypernaturalism—theatre ofpropsmore sharedthancommunicatedexperiencesimultaneitya timeof thegazeshockingphysicalitya theatre of thepresent, notintermediarybut continuouspoint ofpresentnessbody’spresenceover logosmoreenergeticimpulse thaninformationtrustsindividualimpulsesfragmentaryand partialirruption of thereal—notknowingwhethersomething isreal or nothumanbeingsbecomegesticsculpturestheatre ofstates andscenicallydynamicformationsvisualdramaturgythroughscenographymoreprocessthanproduct

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