irruption of thereal—notknowingwhethersomething isreal or notmorepresence thanrepresentationmoreenergeticimpulse thaninformationa timeof thegazevisualdramaturgythroughscenographypost-anthropocentricdensity ofsigns—ornot (therebyactivatingimagination)theatre of thevoice(reverberationof the past)microstructuresof textno aestheticdistance (weare part of acommonsituation)plethora,overabundance,hypernaturalism—theatre ofpropstheatre ofstates andscenicallydynamicformationsmore sharedthancommunicatedexperienceaims atsynaesthesiaheterogenous,individualimaginationsfragmentaryand partialmoreprocessthanproductphenomenonovernarrativetrustsindividualimpulsesbody’spresenceover logossimultaneitysocial situationfor allparticipants:what youexperiencedepends on alla theatre of thepresent, notintermediarybut continuouspoint ofpresentnessresemblesstructuresof dreamsnot an I that speaks butan it through a complexmachinizedcomposition/agencementan event(feast, debate,public action,politicalmanifestation)text ismerely acomponentmusicalization= sound is anew languagein the theatre?rupture ofmeaningbetweenbeing andmeaningreplacementof actionwithceremonytheatrebecomeschora-graphyshockingphysicalitytheatre ofperceptibility(we startseeingseeing)polyglossiadialoguetakes placebetweensound andspacedrama,emptiness, in-betweennessareprotagonistsreminders ofreading/speakinga text = unnaturalmoremanifestationthansignificationnon-hierarchicalelementsoverlapbetweentheatre andperformanceartmakesceremonialaspect oftheatreimportant for itsown sakehumanbeingsbecomegesticsculpturesabandonsitself tochance/riskopen andfragmentingperceptioncoldnessofcharactersirruption of thereal—notknowingwhethersomething isreal or notmorepresence thanrepresentationmoreenergeticimpulse thaninformationa timeof thegazevisualdramaturgythroughscenographypost-anthropocentricdensity ofsigns—ornot (therebyactivatingimagination)theatre of thevoice(reverberationof the past)microstructuresof textno aestheticdistance (weare part of acommonsituation)plethora,overabundance,hypernaturalism—theatre ofpropstheatre ofstates andscenicallydynamicformationsmore sharedthancommunicatedexperienceaims atsynaesthesiaheterogenous,individualimaginationsfragmentaryand partialmoreprocessthanproductphenomenonovernarrativetrustsindividualimpulsesbody’spresenceover logossimultaneitysocial situationfor allparticipants:what youexperiencedepends on alla theatre of thepresent, notintermediarybut continuouspoint ofpresentnessresemblesstructuresof dreamsnot an I that speaks butan it through a complexmachinizedcomposition/agencementan event(feast, debate,public action,politicalmanifestation)text ismerely acomponentmusicalization= sound is anew languagein the theatre?rupture ofmeaningbetweenbeing andmeaningreplacementof actionwithceremonytheatrebecomeschora-graphyshockingphysicalitytheatre ofperceptibility(we startseeingseeing)polyglossiadialoguetakes placebetweensound andspacedrama,emptiness, in-betweennessareprotagonistsreminders ofreading/speakinga text = unnaturalmoremanifestationthansignificationnon-hierarchicalelementsoverlapbetweentheatre andperformanceartmakesceremonialaspect oftheatreimportant for itsown sakehumanbeingsbecomegesticsculpturesabandonsitself tochance/riskopen andfragmentingperceptioncoldnessofcharacters

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