This essay analyzes the role that theatrical representation and, in particular, the work by Brecht had for Furio Jesi’s thought aiming to show how the idea of representation is involved in the conceptual myth-politics-literature node. The analysis of the Brechtian drama Trommel in der Nacht plays a crucial role in the theoretical construction of the 1969 book Spartakus: Symbology of Revolt. The theatrical repetition is here placed by Jesi in a peculiar relationship with the insurrectional action and therefore with the concept of double Sophia. This special function is analyzed here by turning attention to other Jesian writings, preceding, contemporary and above all subsequent to Spartakus: Secret Germany (1967), the 1969 lesson on ritual origins of theater, the 1973 monograph on Brecht, the essay on Švejk (1975) are then examined. Finally, the text brings to light and interprets the relevant passages on the theater contained in the essays on the festivity and on the mythological machine. Understanding the role of theatrical representation in the development of Jesi’s theory perhaps means nothing less than this: grasping the fruitful core of his thought, that is, the link between epiphany and gnosis, repetition and writing, the theory of the double Sophia and the model of the mythological machine.