ABSTRACT
Gilles Deleuze analyses theatre on three occasions. In combination, however, they do not offer a Deleuzian thought on theatre. In fact, one faces a no-thought. But returning to Deleuze (in particular Difference and Repetition and The Fold) for a second reading, one realises that it’s a matter of considering the arts—all the arts as long as they involve differences—as a form of theatre. From the study of performances the author staged in a Santhal village of Bengal, this reasoning may be pushed to its end: Deleuze accumulated negations because theatre is the only art which owns nothing but its capacity of integrating other arts. Focussing Deleuze’s thought in this way brings proper tools to understand what is happening on the present-day stage.
