heterogenous,individualimaginationscoldnessofcharacterstheatre of thevoice(reverberationof the past)resemblesstructuresof dreamsmusicalization= sound is anew languagein the theatre?not an I that speaks butan it through a complexmachinizedcomposition/agencementmakesceremonialaspect oftheatreimportant for itsown sakesimultaneityhumanbeingsbecomegesticsculpturesmoreprocessthanproductoverlapbetweentheatre andperformancearttext ismerely acomponentpolyglossiamore sharedthancommunicatedexperiencetheatre ofperceptibility(we startseeingseeing)social situationfor allparticipants:what youexperiencedepends on alltrustsindividualimpulsesrupture ofmeaningbetweenbeing andmeaningmorepresence thanrepresentationdrama,emptiness, in-betweennessareprotagonistsreminders ofreading/speakinga text = unnaturalbody’spresenceover logosnon-hierarchicalelementsdensity ofsigns—ornot (therebyactivatingimagination)replacementof actionwithceremonyabandonsitself tochance/riskplethora,overabundance,hypernaturalism—theatre ofpropsdialoguetakes placebetweensound andspacepost-anthropocentricaims atsynaesthesiashockingphysicalityvisualdramaturgythroughscenographyirruption of thereal—notknowingwhethersomething isreal or nota theatre of thepresent, notintermediarybut continuouspoint ofpresentnessfragmentaryand partiala timeof thegazemoreenergeticimpulse thaninformationno aestheticdistance (weare part of acommonsituation)theatrebecomeschora-graphyopen andfragmentingperceptionmoremanifestationthansignificationan event(feast, debate,public action,politicalmanifestation)phenomenonovernarrativemicrostructuresof texttheatre ofstates andscenicallydynamicformationsheterogenous,individualimaginationscoldnessofcharacterstheatre of thevoice(reverberationof the past)resemblesstructuresof dreamsmusicalization= sound is anew languagein the theatre?not an I that speaks butan it through a complexmachinizedcomposition/agencementmakesceremonialaspect oftheatreimportant for itsown sakesimultaneityhumanbeingsbecomegesticsculpturesmoreprocessthanproductoverlapbetweentheatre andperformancearttext ismerely acomponentpolyglossiamore sharedthancommunicatedexperiencetheatre ofperceptibility(we startseeingseeing)social situationfor allparticipants:what youexperiencedepends on alltrustsindividualimpulsesrupture ofmeaningbetweenbeing andmeaningmorepresence thanrepresentationdrama,emptiness, in-betweennessareprotagonistsreminders ofreading/speakinga text = unnaturalbody’spresenceover logosnon-hierarchicalelementsdensity ofsigns—ornot (therebyactivatingimagination)replacementof actionwithceremonyabandonsitself tochance/riskplethora,overabundance,hypernaturalism—theatre ofpropsdialoguetakes placebetweensound andspacepost-anthropocentricaims atsynaesthesiashockingphysicalityvisualdramaturgythroughscenographyirruption of thereal—notknowingwhethersomething isreal or nota theatre of thepresent, notintermediarybut continuouspoint ofpresentnessfragmentaryand partiala timeof thegazemoreenergeticimpulse thaninformationno aestheticdistance (weare part of acommonsituation)theatrebecomeschora-graphyopen andfragmentingperceptionmoremanifestationthansignificationan event(feast, debate,public action,politicalmanifestation)phenomenonovernarrativemicrostructuresof texttheatre ofstates andscenicallydynamicformations

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