Rhapsody for the Theatre: A Short Philosophical Treatise, first published in French in 1990, occupies a unique spot in Alain Badiou's oeuvre. Part theory and part theatre, or at least prototheatre, it certainly can be read alongside other books from the same period, especially Handbook of Inaesthetics and Metapolitics, devoted respectively to the truth procedures of art and politics that function as two of the four conditions of philosophy according to Badiou. Of the other two conditions, mathematics is treated in Number and Numbers and Briefings on Existence: A Short Treatise on Transitory Ontology, whereas love is the only truth procedure not to receive a book-length investigation. Even in the case of Badiou's treatment of love, a text such as “The Scene of the Two” resonates with the present text due to the importance given to the production of a “scene” for the amorous couple. In addition to opening up a fascinating dialogue with this theoretical treatment of the four conditions of philosophy, Rhapsody for the Theatre also and at the same time can serve as the ideal accompanying piece for Badiou's work as a playwright, most notably the Ahmed tetralogy that comprises Ahmed le subtil, Ahmed philosophe, Ahmed se fâche, and Les Citrouilles and that was staged in a quick creative sequence starting just four years after Rhapsody for the Theatre was published. In fact, one of the most intriguing aspects of this treatise is the way in which it moves between philosophy and theatre to the point of opening up a space of indiscernibility between the two.