no aestheticdistance (weare part of acommonsituation)fragmentaryand partialoverlapbetweentheatre andperformanceartmoremanifestationthansignificationdensity ofsigns—ornot (therebyactivatingimagination)moreprocessthanproductsimultaneitydialoguetakes placebetweensound andspacemusicalization= sound is anew languagein the theatre?replacementof actionwithceremonymicrostructuresof textplethora,overabundance,hypernaturalism—theatre ofpropsmorepresence thanrepresentationopen andfragmentingperceptionrupture ofmeaningbetweenbeing andmeaningirruption of thereal—notknowingwhethersomething isreal or nothumanbeingsbecomegesticsculpturesnon-hierarchicalelementsmoreenergeticimpulse thaninformationdrama,emptiness, in-betweennessareprotagonistsa theatre of thepresent, notintermediarybut continuouspoint ofpresentnessvisualdramaturgythroughscenographyheterogenous,individualimaginationsmakesceremonialaspect oftheatreimportant for itsown sakean event(feast, debate,public action,politicalmanifestation)theatre ofperceptibility(we startseeingseeing)reminders ofreading/speakinga text = unnaturalabandonsitself tochance/riskmore sharedthancommunicatedexperiencenot an I that speaks butan it through a complexmachinizedcomposition/agencementresemblesstructuresof dreamstheatre of thevoice(reverberationof the past)aims atsynaesthesiatheatre ofstates andscenicallydynamicformationstrustsindividualimpulsespost-anthropocentrica timeof thegazecoldnessofcharacterstheatrebecomeschora-graphyshockingphysicalitybody’spresenceover logospolyglossiaphenomenonovernarrativetext ismerely acomponentsocial situationfor allparticipants:what youexperiencedepends on allno aestheticdistance (weare part of acommonsituation)fragmentaryand partialoverlapbetweentheatre andperformanceartmoremanifestationthansignificationdensity ofsigns—ornot (therebyactivatingimagination)moreprocessthanproductsimultaneitydialoguetakes placebetweensound andspacemusicalization= sound is anew languagein the theatre?replacementof actionwithceremonymicrostructuresof textplethora,overabundance,hypernaturalism—theatre ofpropsmorepresence thanrepresentationopen andfragmentingperceptionrupture ofmeaningbetweenbeing andmeaningirruption of thereal—notknowingwhethersomething isreal or nothumanbeingsbecomegesticsculpturesnon-hierarchicalelementsmoreenergeticimpulse thaninformationdrama,emptiness, in-betweennessareprotagonistsa theatre of thepresent, notintermediarybut continuouspoint ofpresentnessvisualdramaturgythroughscenographyheterogenous,individualimaginationsmakesceremonialaspect oftheatreimportant for itsown sakean event(feast, debate,public action,politicalmanifestation)theatre ofperceptibility(we startseeingseeing)reminders ofreading/speakinga text = unnaturalabandonsitself tochance/riskmore sharedthancommunicatedexperiencenot an I that speaks butan it through a complexmachinizedcomposition/agencementresemblesstructuresof dreamstheatre of thevoice(reverberationof the past)aims atsynaesthesiatheatre ofstates andscenicallydynamicformationstrustsindividualimpulsespost-anthropocentrica timeof thegazecoldnessofcharacterstheatrebecomeschora-graphyshockingphysicalitybody’spresenceover logospolyglossiaphenomenonovernarrativetext ismerely acomponentsocial 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. no aesthetic distance (we are part of a common situation)
  2. fragmentary and partial
  3. overlap between theatre and performance art
  4. more manifestation than signification
  5. density of signs—or not (thereby activating imagination)
  6. more process than product
  7. simultaneity
  8. dialogue takes place between sound and space
  9. musicalization = sound is a new language in the theatre?
  10. replacement of action with ceremony
  11. microstructures of text
  12. plethora, overabundance, hypernaturalism—theatre of props
  13. more presence than representation
  14. open and fragmenting perception
  15. rupture of meaning between being and meaning
  16. irruption of the real—not knowing whether something is real or not
  17. human beings become gestic sculptures
  18. non-hierarchical elements
  19. more energetic impulse than information
  20. drama, emptiness, in-betweenness are protagonists
  21. a theatre of the present, not intermediary but continuous point of presentness
  22. visual dramaturgy through scenography
  23. heterogenous, individual imaginations
  24. makes ceremonial aspect of theatre important for its own sake
  25. an event (feast, debate, public action, political manifestation)
  26. theatre of perceptibility (we start seeing seeing)
  27. reminders of reading/speaking a text = unnatural
  28. abandons itself to chance/risk
  29. more shared than communicated experience
  30. not an I that speaks but an it through a complex machinized composition/agencement
  31. resembles structures of dreams
  32. theatre of the voice (reverberation of the past)
  33. aims at synaesthesia
  34. theatre of states and scenically dynamic formations
  35. trusts individual impulses
  36. post-anthropocentric
  37. a time of the gaze
  38. coldness of characters
  39. theatre becomes chora-graphy
  40. shocking physicality
  41. body’s presence over logos
  42. polyglossia
  43. phenomenon over narrative
  44. text is merely a component
  45. social situation for all participants: what you experience depends on all