In the introduction to Difference and Repetition (1968), Deleuze singles out Kierkegaard and Nietzsche as two thinkers of repetition who have introduced radically innovative means of expression into philosophy by elaborating an anti-representational notion of movement. These authors invent a philosophy that directly proposes itself as a theatrical philosophy, a philosophy in the guise of theatre. For Kierkegaard and Nietzsche, it is a question of ‘producing within the [philosophical] work a movement capable of unsettling the spirit outside of all representation; it is a question of making movement itself a work, without interposition’ (Deleuze 1994: 8). Such movement should therefore be contrasted with Hegel's ‘abstract logical’ movement, a ‘false movement’, which is itself represented in that it dialectically relies on opposition and mediation.