Abstract

In Difference and Repetition, Deleuze evokes dramatization when he suggests that intensities must dramatize the Ideas to condition their actualization. This allusion to an artistic category, in the midst of his metaphysical inquiry, has remained obscure. It is not clear, despite its cruciality, why he employs dramatization to explain any actualization and not solely artistic actualization. This essay elucidates this ambiguity, while foregrounding a zone of torsional continuity, wherein intensity encounters the Idea and expresses it through dramatization. This process is at play in the actualization of the organic field, social field, and aesthetic field, where an intensive larval subject—embryo, free individual, artist—encounters the biological, social, or artistic Idea. While unraveling the structure of artistic experience, it is shown how dramatization is indispensable to actualize every Idea. Finally, through Tarkovsky and Blanchot, the notion of poeticization is formulated that, while complementing dramatization, unveils some of its tacit nuances.