resemblesstructuresof dreamsfragmentaryand partialmusicalization= sound is anew languagein the theatre?more sharedthancommunicatedexperiencedensity ofsigns—ornot (therebyactivatingimagination)plethora,overabundance,hypernaturalism—theatre ofpropspolyglossiaabandonsitself tochance/riskmakesceremonialaspect oftheatreimportant for itsown sakemoreprocessthanproductreminders ofreading/speakinga text = unnaturalirruption of thereal—notknowingwhethersomething isreal or notpost-anthropocentrictrustsindividualimpulsestheatre of thevoice(reverberationof the past)dialoguetakes placebetweensound andspacetext ismerely acomponenttheatre ofstates andscenicallydynamicformationscoldnessofcharactersmorepresence thanrepresentationopen andfragmentingperceptionnon-hierarchicalelementstheatre ofperceptibility(we startseeingseeing)humanbeingsbecomegesticsculpturesaims atsynaesthesiasimultaneitymoremanifestationthansignificationbody’spresenceover logosreplacementof actionwithceremonymicrostructuresof textoverlapbetweentheatre andperformancearta theatre of thepresent, notintermediarybut continuouspoint ofpresentnessnot an I that speaks butan it through a complexmachinizedcomposition/agencementrupture ofmeaningbetweenbeing andmeaningsocial situationfor allparticipants:what youexperiencedepends on allphenomenonovernarrativetheatrebecomeschora-graphyno aestheticdistance (weare part of acommonsituation)drama,emptiness, in-betweennessareprotagonistsshockingphysicalitymoreenergeticimpulse thaninformationan event(feast, debate,public action,politicalmanifestation)visualdramaturgythroughscenographya timeof thegazeheterogenous,individualimaginationsresemblesstructuresof dreamsfragmentaryand partialmusicalization= sound is anew languagein the theatre?more sharedthancommunicatedexperiencedensity ofsigns—ornot (therebyactivatingimagination)plethora,overabundance,hypernaturalism—theatre ofpropspolyglossiaabandonsitself tochance/riskmakesceremonialaspect oftheatreimportant for itsown sakemoreprocessthanproductreminders ofreading/speakinga text = unnaturalirruption of thereal—notknowingwhethersomething isreal or notpost-anthropocentrictrustsindividualimpulsestheatre of thevoice(reverberationof the past)dialoguetakes placebetweensound andspacetext ismerely acomponenttheatre ofstates andscenicallydynamicformationscoldnessofcharactersmorepresence thanrepresentationopen andfragmentingperceptionnon-hierarchicalelementstheatre ofperceptibility(we startseeingseeing)humanbeingsbecomegesticsculpturesaims atsynaesthesiasimultaneitymoremanifestationthansignificationbody’spresenceover logosreplacementof actionwithceremonymicrostructuresof textoverlapbetweentheatre andperformancearta theatre of thepresent, notintermediarybut continuouspoint ofpresentnessnot an I that speaks butan it through a complexmachinizedcomposition/agencementrupture ofmeaningbetweenbeing andmeaningsocial situationfor allparticipants:what youexperiencedepends on allphenomenonovernarrativetheatrebecomeschora-graphyno aestheticdistance (weare part of acommonsituation)drama,emptiness, in-betweennessareprotagonistsshockingphysicalitymoreenergeticimpulse thaninformationan event(feast, debate,public action,politicalmanifestation)visualdramaturgythroughscenographya timeof thegazeheterogenous,individualimaginations

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