In this contribution, I explore the potential of creative praxis to elaborate psychosocial thinking, by experimentally reconfiguring the focus of my own doctoral research—Brexit and psychoanalysis—as an object of theatrical performativity or “play”. Following Candida Yates (The Play of Political Culture, Emotion and Identity, Palgrave Macmillan, 2015), I read “play” as a metaphor with which to explore the psychodynamics of political culture. For Yates, the notion of play connotes both the negative sense of being “played with” by manipulative political actors and the positive possibility of a more authentically interactive mode of political engagement, in which voters may “play with” their political subjectivities. “Play”, in this latter sense, inhabits a “transitional” space, where political identifications can be continually reworked and recreated (Winnicott, Playing and Reality, Tavistock, 1971). In this chapter, I facilitate such creative “play” by way of a reflexive dramatization of Brexit and psychoanalysis. The chapter combines creative and reflexive writing with critical psychoanalytic commentary and analysis. By rearranging the discursive objects of my academic research in a more dramatic and playful form, I aim to question the nature of knowledge production in psychosocial studies, and the limitations of more conventional modes of academic performance.