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