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Concepts drawn from philosopher Gilles Deleuze, at times in collaboration with Félix Guattari, appear as characters on an academic stage composed of human and non-human bodies, forces, events, texts, and concepts. This dramatic action aims to creatively reanimate material debris of a live theatrical event that amputated and transformed Shakespeare scenes using methods taken from Antonin Artaud’s First Manifesto of the Theatre of Cruelty to create a theatre becoming-theatre. This second creative act dramatizes the live performance with Deleuzoguattarian concepts and processes in an effort to generate affects on an academic stage.