theatre of thevoice(reverberationof the past)trustsindividualimpulsesmore sharedthancommunicatedexperiencedrama,emptiness, in-betweennessareprotagonistsplethora,overabundance,hypernaturalism—theatre ofpropsreplacementof actionwithceremonypolyglossiarupture ofmeaningbetweenbeing andmeaningtheatre ofstates andscenicallydynamicformationspost-anthropocentrictext ismerely acomponenttheatrebecomeschora-graphysimultaneityphenomenonovernarrativesocial situationfor allparticipants:what youexperiencedepends on allreminders ofreading/speakinga text = unnaturalcoldnessofcharactersdensity ofsigns—ornot (therebyactivatingimagination)irruption of thereal—notknowingwhethersomething isreal or notmusicalization= sound is anew languagein the theatre?resemblesstructuresof dreamsmoremanifestationthansignificationa timeof thegazemicrostructuresof textabandonsitself tochance/riskan event(feast, debate,public action,politicalmanifestation)not an I that speaks butan it through a complexmachinizedcomposition/agencementaims atsynaesthesiamakesceremonialaspect oftheatreimportant for itsown sakebody’spresenceover logosmoreenergeticimpulse thaninformationa theatre of thepresent, notintermediarybut continuouspoint ofpresentnessshockingphysicalitynon-hierarchicalelementshumanbeingsbecomegesticsculpturesno aestheticdistance (weare part of acommonsituation)morepresence thanrepresentationheterogenous,individualimaginationsopen andfragmentingperceptionoverlapbetweentheatre andperformanceartmoreprocessthanproductfragmentaryand partialdialoguetakes placebetweensound andspacetheatre ofperceptibility(we startseeingseeing)visualdramaturgythroughscenographytheatre of thevoice(reverberationof the past)trustsindividualimpulsesmore sharedthancommunicatedexperiencedrama,emptiness, in-betweennessareprotagonistsplethora,overabundance,hypernaturalism—theatre ofpropsreplacementof actionwithceremonypolyglossiarupture ofmeaningbetweenbeing andmeaningtheatre ofstates andscenicallydynamicformationspost-anthropocentrictext ismerely acomponenttheatrebecomeschora-graphysimultaneityphenomenonovernarrativesocial situationfor allparticipants:what youexperiencedepends on allreminders ofreading/speakinga text = unnaturalcoldnessofcharactersdensity ofsigns—ornot (therebyactivatingimagination)irruption of thereal—notknowingwhethersomething isreal or notmusicalization= sound is anew languagein the theatre?resemblesstructuresof dreamsmoremanifestationthansignificationa timeof thegazemicrostructuresof textabandonsitself tochance/riskan event(feast, debate,public action,politicalmanifestation)not an I that speaks butan it through a complexmachinizedcomposition/agencementaims atsynaesthesiamakesceremonialaspect oftheatreimportant for itsown sakebody’spresenceover logosmoreenergeticimpulse thaninformationa theatre of thepresent, notintermediarybut continuouspoint ofpresentnessshockingphysicalitynon-hierarchicalelementshumanbeingsbecomegesticsculpturesno aestheticdistance (weare part of acommonsituation)morepresence thanrepresentationheterogenous,individualimaginationsopen andfragmentingperceptionoverlapbetweentheatre andperformanceartmoreprocessthanproductfragmentaryand partialdialoguetakes placebetweensound andspacetheatre ofperceptibility(we startseeingseeing)visualdramaturgythroughscenography

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