social situationfor allparticipants:what youexperiencedepends on allphenomenonovernarrativemore sharedthancommunicatedexperienceopen andfragmentingperceptionshockingphysicalitycoldnessofcharactersan event(feast, debate,public action,politicalmanifestation)simultaneitytheatre ofstates andscenicallydynamicformationsoverlapbetweentheatre andperformanceartdialoguetakes placebetweensound andspacetext ismerely acomponenttheatrebecomeschora-graphydensity ofsigns—ornot (therebyactivatingimagination)makesceremonialaspect oftheatreimportant for itsown sakemoreprocessthanproductmicrostructuresof textbody’spresenceover logosabandonsitself tochance/risktheatre ofperceptibility(we startseeingseeing)trustsindividualimpulsesirruption of thereal—notknowingwhethersomething isreal or notvisualdramaturgythroughscenographyaims atsynaesthesiamusicalization= sound is anew languagein the theatre?not an I that speaks butan it through a complexmachinizedcomposition/agencementreplacementof actionwithceremonyresemblesstructuresof dreamspolyglossianon-hierarchicalelementsheterogenous,individualimaginationsreminders ofreading/speakinga text = unnaturalmorepresence thanrepresentationplethora,overabundance,hypernaturalism—theatre ofpropsno aestheticdistance (weare part of acommonsituation)moremanifestationthansignificationrupture ofmeaningbetweenbeing andmeaningpost-anthropocentrictheatre of thevoice(reverberationof the past)moreenergeticimpulse thaninformationdrama,emptiness, in-betweennessareprotagonistsfragmentaryand partiala timeof thegazehumanbeingsbecomegesticsculpturesa theatre of thepresent, notintermediarybut continuouspoint ofpresentnesssocial situationfor allparticipants:what youexperiencedepends on allphenomenonovernarrativemore sharedthancommunicatedexperienceopen andfragmentingperceptionshockingphysicalitycoldnessofcharactersan event(feast, debate,public action,politicalmanifestation)simultaneitytheatre ofstates andscenicallydynamicformationsoverlapbetweentheatre andperformanceartdialoguetakes placebetweensound andspacetext ismerely acomponenttheatrebecomeschora-graphydensity ofsigns—ornot (therebyactivatingimagination)makesceremonialaspect oftheatreimportant for itsown sakemoreprocessthanproductmicrostructuresof textbody’spresenceover logosabandonsitself tochance/risktheatre ofperceptibility(we startseeingseeing)trustsindividualimpulsesirruption of thereal—notknowingwhethersomething isreal or notvisualdramaturgythroughscenographyaims atsynaesthesiamusicalization= sound is anew languagein the theatre?not an I that speaks butan it through a complexmachinizedcomposition/agencementreplacementof actionwithceremonyresemblesstructuresof dreamspolyglossianon-hierarchicalelementsheterogenous,individualimaginationsreminders ofreading/speakinga text = unnaturalmorepresence thanrepresentationplethora,overabundance,hypernaturalism—theatre ofpropsno aestheticdistance (weare part of acommonsituation)moremanifestationthansignificationrupture ofmeaningbetweenbeing andmeaningpost-anthropocentrictheatre of thevoice(reverberationof the past)moreenergeticimpulse thaninformationdrama,emptiness, in-betweennessareprotagonistsfragmentaryand partiala timeof thegazehumanbeingsbecomegesticsculpturesa theatre of thepresent, notintermediarybut continuouspoint ofpresentness

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