trustsindividualimpulsesan event(feast, debate,public action,politicalmanifestation)theatre ofperceptibility(we startseeingseeing)drama,emptiness, in-betweennessareprotagonistsvisualdramaturgythroughscenographyreplacementof actionwithceremonysocial situationfor allparticipants:what youexperiencedepends on alloverlapbetweentheatre andperformanceartdensity ofsigns—ornot (therebyactivatingimagination)body’spresenceover logosmoremanifestationthansignificationtheatre of thevoice(reverberationof the past)moreprocessthanproductnon-hierarchicalelementstext ismerely acomponenttheatrebecomeschora-graphytheatre ofstates andscenicallydynamicformationshumanbeingsbecomegesticsculpturessimultaneityshockingphysicalitymakesceremonialaspect oftheatreimportant for itsown sakeno aestheticdistance (weare part of acommonsituation)not an I that speaks butan it through a complexmachinizedcomposition/agencementdialoguetakes placebetweensound andspacea timeof thegazemusicalization= sound is anew languagein the theatre?fragmentaryand partialabandonsitself tochance/riskmore sharedthancommunicatedexperiencemorepresence thanrepresentationmoreenergeticimpulse thaninformationplethora,overabundance,hypernaturalism—theatre ofpropsrupture ofmeaningbetweenbeing andmeaningresemblesstructuresof dreamsirruption of thereal—notknowingwhethersomething isreal or notheterogenous,individualimaginationsopen andfragmentingperceptiona theatre of thepresent, notintermediarybut continuouspoint ofpresentnesspost-anthropocentricaims atsynaesthesiapolyglossiareminders ofreading/speakinga text = unnaturalcoldnessofcharactersphenomenonovernarrativemicrostructuresof texttrustsindividualimpulsesan event(feast, debate,public action,politicalmanifestation)theatre ofperceptibility(we startseeingseeing)drama,emptiness, in-betweennessareprotagonistsvisualdramaturgythroughscenographyreplacementof actionwithceremonysocial situationfor allparticipants:what youexperiencedepends on alloverlapbetweentheatre andperformanceartdensity ofsigns—ornot (therebyactivatingimagination)body’spresenceover logosmoremanifestationthansignificationtheatre of thevoice(reverberationof the past)moreprocessthanproductnon-hierarchicalelementstext ismerely acomponenttheatrebecomeschora-graphytheatre ofstates andscenicallydynamicformationshumanbeingsbecomegesticsculpturessimultaneityshockingphysicalitymakesceremonialaspect oftheatreimportant for itsown sakeno aestheticdistance (weare part of acommonsituation)not an I that speaks butan it through a complexmachinizedcomposition/agencementdialoguetakes placebetweensound andspacea timeof thegazemusicalization= sound is anew languagein the theatre?fragmentaryand partialabandonsitself tochance/riskmore sharedthancommunicatedexperiencemorepresence thanrepresentationmoreenergeticimpulse thaninformationplethora,overabundance,hypernaturalism—theatre ofpropsrupture ofmeaningbetweenbeing andmeaningresemblesstructuresof dreamsirruption of thereal—notknowingwhethersomething isreal or notheterogenous,individualimaginationsopen andfragmentingperceptiona theatre of thepresent, notintermediarybut continuouspoint ofpresentnesspost-anthropocentricaims atsynaesthesiapolyglossiareminders ofreading/speakinga text = unnaturalcoldnessofcharactersphenomenonovernarrativemicrostructuresof text

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