theatre ofperceptibility(we startseeingseeing)theatre ofstates andscenicallydynamicformationsvisualdramaturgythroughscenographymoremanifestationthansignificationpost-anthropocentricirruption of thereal—notknowingwhethersomething isreal or nota theatre of thepresent, notintermediarybut continuouspoint ofpresentnessmicrostructuresof textreminders ofreading/speakinga text = unnaturalmore sharedthancommunicatedexperienceresemblesstructuresof dreamsopen andfragmentingperceptionmorepresence thanrepresentationan event(feast, debate,public action,politicalmanifestation)text ismerely acomponenta timeof thegazesimultaneitysocial situationfor allparticipants:what youexperiencedepends on alldialoguetakes placebetweensound andspaceplethora,overabundance,hypernaturalism—theatre ofpropsshockingphysicalitymusicalization= sound is anew languagein the theatre?moreprocessthanproducttheatre of thevoice(reverberationof the past)trustsindividualimpulsesmoreenergeticimpulse thaninformationreplacementof actionwithceremonyabandonsitself tochance/riskbody’spresenceover logosno aestheticdistance (weare part of acommonsituation)drama,emptiness, in-betweennessareprotagonistsnot an I that speaks butan it through a complexmachinizedcomposition/agencementdensity ofsigns—ornot (therebyactivatingimagination)rupture ofmeaningbetweenbeing andmeaningheterogenous,individualimaginationspolyglossiacoldnessofcharacterstheatrebecomeschora-graphyaims atsynaesthesiaphenomenonovernarrativenon-hierarchicalelementsmakesceremonialaspect oftheatreimportant for itsown sakehumanbeingsbecomegesticsculpturesfragmentaryand partialoverlapbetweentheatre andperformancearttheatre ofperceptibility(we startseeingseeing)theatre ofstates andscenicallydynamicformationsvisualdramaturgythroughscenographymoremanifestationthansignificationpost-anthropocentricirruption of thereal—notknowingwhethersomething isreal or nota theatre of thepresent, notintermediarybut continuouspoint ofpresentnessmicrostructuresof textreminders ofreading/speakinga text = unnaturalmore sharedthancommunicatedexperienceresemblesstructuresof dreamsopen andfragmentingperceptionmorepresence thanrepresentationan event(feast, debate,public action,politicalmanifestation)text ismerely acomponenta timeof thegazesimultaneitysocial situationfor allparticipants:what youexperiencedepends on alldialoguetakes placebetweensound andspaceplethora,overabundance,hypernaturalism—theatre ofpropsshockingphysicalitymusicalization= sound is anew languagein the theatre?moreprocessthanproducttheatre of thevoice(reverberationof the past)trustsindividualimpulsesmoreenergeticimpulse thaninformationreplacementof actionwithceremonyabandonsitself tochance/riskbody’spresenceover logosno aestheticdistance (weare part of acommonsituation)drama,emptiness, in-betweennessareprotagonistsnot an I that speaks butan it through a complexmachinizedcomposition/agencementdensity ofsigns—ornot (therebyactivatingimagination)rupture ofmeaningbetweenbeing andmeaningheterogenous,individualimaginationspolyglossiacoldnessofcharacterstheatrebecomeschora-graphyaims atsynaesthesiaphenomenonovernarrativenon-hierarchicalelementsmakesceremonialaspect oftheatreimportant for itsown sakehumanbeingsbecomegesticsculpturesfragmentaryand partialoverlapbetweentheatre andperformanceart

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