Contributors assess the deployments of various emotional registers in theatrical performance and explore how and where the “affective turn” in contemporary humanities scholarship affects theatre studies in Canada. In this chapter, Solga revises her brief 2010 TDR analysis of Theatre Replacement’s BIOBOXES, nuancing her experience of the show through the lens of critical border theory. How do we encounter difference across the borders the stage creates? In as intimate a space as BIOBOXES makes for audiences, what does it mean to be fully accountable to the spectacle and the labour that built it?