This chapter examines A Clockwork Orange through its adaptation process, analysing how intersemiotic translation and intermedial circulation operate in two distinct adaptations. It explores Anthony Burgess’s self-adaptation, A Clockwork Orange: A Play with Music (1972), as the first stage of adaptation before analysing two productions derived from this playtext: Ron Daniels’s 1990 Royal Shakespeare Company (RSC) adaptation and Alexandra Spencer-Jones, Alexandra. 2012. Action To The Word’s ‘A Clockwork Orange. 30th July 2012. Action to Word production. The chapter investigates how the institutional authority of the RSC repositions A Clockwork Orange as a legitimate work, while also revealing how this adaptation complicates our perceptions of authority in adaptation. In contrast, Spencer-Jones’s production reflects how the director’s habitus shapes the adaptation process, as her physical theatre approach translates Burgess’s playtext into a stylised, movement-driven performance, recreating its themes of violence and masculinity. Thus, the chapter reveals how each production creates a balance in coherence in difference, deriving from the individual constraints and freedoms of the social field.