abandonsitself tochance/risktheatrebecomeschora-graphytext ismerely acomponentsimultaneitytrustsindividualimpulsespolyglossianon-hierarchicalelementsshockingphysicalityfragmentaryand partialirruption of thereal—notknowingwhethersomething isreal or notreplacementof actionwithceremonyno aestheticdistance (weare part of acommonsituation)moremanifestationthansignificationrupture ofmeaningbetweenbeing andmeaninghumanbeingsbecomegesticsculpturesaims atsynaesthesiaheterogenous,individualimaginationsdensity ofsigns—ornot (therebyactivatingimagination)overlapbetweentheatre andperformanceartdrama,emptiness, in-betweennessareprotagonistsdialoguetakes placebetweensound andspacemorepresence thanrepresentationtheatre ofperceptibility(we startseeingseeing)a theatre of thepresent, notintermediarybut continuouspoint ofpresentnessbody’spresenceover logosmore sharedthancommunicatedexperiencenot an I that speaks butan it through a complexmachinizedcomposition/agencementplethora,overabundance,hypernaturalism—theatre ofpropsreminders ofreading/speakinga text = unnaturalphenomenonovernarrativetheatre ofstates andscenicallydynamicformationsresemblesstructuresof dreamsmakesceremonialaspect oftheatreimportant for itsown sakean event(feast, debate,public action,politicalmanifestation)visualdramaturgythroughscenographya timeof thegazeopen andfragmentingperceptionmoreprocessthanproductmicrostructuresof textmoreenergeticimpulse thaninformationtheatre of thevoice(reverberationof the past)musicalization= sound is anew languagein the theatre?post-anthropocentriccoldnessofcharacterssocial situationfor allparticipants:what youexperiencedepends on allabandonsitself tochance/risktheatrebecomeschora-graphytext ismerely acomponentsimultaneitytrustsindividualimpulsespolyglossianon-hierarchicalelementsshockingphysicalityfragmentaryand partialirruption of thereal—notknowingwhethersomething isreal or notreplacementof actionwithceremonyno aestheticdistance (weare part of acommonsituation)moremanifestationthansignificationrupture ofmeaningbetweenbeing andmeaninghumanbeingsbecomegesticsculpturesaims atsynaesthesiaheterogenous,individualimaginationsdensity ofsigns—ornot (therebyactivatingimagination)overlapbetweentheatre andperformanceartdrama,emptiness, in-betweennessareprotagonistsdialoguetakes placebetweensound andspacemorepresence thanrepresentationtheatre ofperceptibility(we startseeingseeing)a theatre of thepresent, notintermediarybut continuouspoint ofpresentnessbody’spresenceover logosmore sharedthancommunicatedexperiencenot an I that speaks butan it through a complexmachinizedcomposition/agencementplethora,overabundance,hypernaturalism—theatre ofpropsreminders ofreading/speakinga text = unnaturalphenomenonovernarrativetheatre ofstates andscenicallydynamicformationsresemblesstructuresof dreamsmakesceremonialaspect oftheatreimportant for itsown sakean event(feast, debate,public action,politicalmanifestation)visualdramaturgythroughscenographya timeof thegazeopen andfragmentingperceptionmoreprocessthanproductmicrostructuresof textmoreenergeticimpulse thaninformationtheatre of thevoice(reverberationof the past)musicalization= sound is anew languagein the theatre?post-anthropocentriccoldnessofcharacterssocial 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.


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