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For Gilles Deleuze, theater is a form of becoming. A becoming involves an unspecifiable and unpredictable disruption of codes in a metamorphic zone between fixed identities and rushes toward becoming-imperceptible. The imperceptible is the immanent end of becoming. Then Deleuze’s concept of becoming is compatible with actor's training and performance. All becoming is a becoming-minoritarian and is related to the minor. While majority implies a constant serving as a standard measure, minority is characterized by the puissance in variation. So the major is a constant and homogeneous system, and the minor is a potential, creative becoming. In a minor way, Deleuze emphasizes the continuous variation of language and gesture in theater. He calls this continuous variation a generalized chromaticism that offers pragmatism its intensities and values. In particular, Bene’s theater enters into a process of this continuous variation. Bene’s theater is a theater of subtraction. In Richard Ⅲ, Bene subtracts all male characters except Richard. In Bene’s play, the subtraction of characters brings with it the construction of other characters. Bene expresses the theater that actualizes the virtual through the subtraction of an original text and the continuous variation of language and gesture. Bene also embodies politics of creation that overthrows the power of representation by manifesting creative appearances as well as new variations in his theater.