While the work of Gilles Deleuze might not always resemble a theatre of problems, it consistently grounds its readings of philosophy and its musings on cinema and art in the always open question of representation. Indeed, Deleuze opens the philosophical text framing his lifelong project, Difference and Repetition, by contrasting the theatre of representation with the more dynamic theatres of movement and repetition. The theatre of representation, whether on the classical stage or the philosophical page, is said to subscribe to a naturalised reliance on the presentation of ‘sameness’. This sameness of representation revolves around the quadripartite structure of representation that neatly aligns and contains text, perception, and subjectivity: the identity of concepts, the opposition of predicates, the analogy of judgement, and the resemblance of perception.