The concept of dramatization represents a rhetorical and conceptual tension in Deleuze's philosophy in that it refers both to autopoietic ontological processes and to a critical philosophical method. Commentators are wont to refer to either one or the other, saying little about how or if these two fundamentally distinct usages can be thought together; that is what we aim to do here. By unravelling the conceptual transformations of the term, we can gain an appreciation for the double characterisation of dramatization (...) and its centrifugal nature. We begin with the hypothesis that dramatization is linked to actualisation in the first sense and counteractualisation in the second. The fundamental question that we would like to address is: how are these two views to be reconciled? Addressing this question leads us to the conclusion that dramatization becomes an ethical imperative for philosophical subjects to perform certain philosophical exercises, that is, to become worthy of the event. The particular philosophical exercise that is emphasised is the dramatization of a paradoxical thought of death. Ultimately, we suggest that dramatization can be galvanised for both an emancipatory politics and an ethico-aesthetic life practice. (shrink)