microstructuresof textpolyglossiaa timeof thegazereminders ofreading/speakinga text = unnaturalmoreprocessthanproductheterogenous,individualimaginationsdialoguetakes placebetweensound andspacetheatre ofperceptibility(we startseeingseeing)theatrebecomeschora-graphysocial situationfor allparticipants:what youexperiencedepends on alltheatre of thevoice(reverberationof the past)replacementof actionwithceremonyaims atsynaesthesiaresemblesstructuresof dreamsabandonsitself tochance/risktext ismerely acomponentirruption of thereal—notknowingwhethersomething isreal or nottrustsindividualimpulsesbody’spresenceover logosdensity ofsigns—ornot (therebyactivatingimagination)a theatre of thepresent, notintermediarybut continuouspoint ofpresentnessno aestheticdistance (weare part of acommonsituation)phenomenonovernarrativemoreenergeticimpulse thaninformationan event(feast, debate,public action,politicalmanifestation)rupture ofmeaningbetweenbeing andmeaningmoremanifestationthansignificationshockingphysicalitymore sharedthancommunicatedexperienceopen andfragmentingperceptionhumanbeingsbecomegesticsculpturestheatre ofstates andscenicallydynamicformationsnon-hierarchicalelementscoldnessofcharactersfragmentaryand partialoverlapbetweentheatre andperformanceartdrama,emptiness, in-betweennessareprotagonistsmusicalization= sound is anew languagein the theatre?plethora,overabundance,hypernaturalism—theatre ofpropsvisualdramaturgythroughscenographysimultaneitypost-anthropocentricmorepresence thanrepresentationmakesceremonialaspect oftheatreimportant for itsown sakenot an I that speaks butan it through a complexmachinizedcomposition/agencementmicrostructuresof textpolyglossiaa timeof thegazereminders ofreading/speakinga text = unnaturalmoreprocessthanproductheterogenous,individualimaginationsdialoguetakes placebetweensound andspacetheatre ofperceptibility(we startseeingseeing)theatrebecomeschora-graphysocial situationfor allparticipants:what youexperiencedepends on alltheatre of thevoice(reverberationof the past)replacementof actionwithceremonyaims atsynaesthesiaresemblesstructuresof dreamsabandonsitself tochance/risktext ismerely acomponentirruption of thereal—notknowingwhethersomething isreal or nottrustsindividualimpulsesbody’spresenceover logosdensity ofsigns—ornot (therebyactivatingimagination)a theatre of thepresent, notintermediarybut continuouspoint ofpresentnessno aestheticdistance (weare part of acommonsituation)phenomenonovernarrativemoreenergeticimpulse thaninformationan event(feast, debate,public action,politicalmanifestation)rupture ofmeaningbetweenbeing andmeaningmoremanifestationthansignificationshockingphysicalitymore sharedthancommunicatedexperienceopen andfragmentingperceptionhumanbeingsbecomegesticsculpturestheatre ofstates andscenicallydynamicformationsnon-hierarchicalelementscoldnessofcharactersfragmentaryand partialoverlapbetweentheatre andperformanceartdrama,emptiness, in-betweennessareprotagonistsmusicalization= sound is anew languagein the theatre?plethora,overabundance,hypernaturalism—theatre ofpropsvisualdramaturgythroughscenographysimultaneitypost-anthropocentricmorepresence thanrepresentationmakesceremonialaspect oftheatreimportant for itsown sakenot an I that speaks butan it through a complexmachinizedcomposition/agencement

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