Akademik Veri Yönetim Sistemi
International Journal of Literary Humanities, cilt.12, sa.1, ss.1-12, 2014 (Scopus)
Since the January 25th Revolution, Egyptian theatre has witnessed a swelling plethora of plays and improvised performances which handle the revolution as a central subject, yet vary in technique, suggesting a promising bloom that lacks a mature vision of post-revolution Egypt. From among those, three plays represent three different phases of the yet ongoing revolution. Mo{scombining.dot.below}tafa 'Atia's "Moqeem Sha'aer al Nezam" (The Ritualist of the Regime) (2012), Mo{hcombining.dot.below}amed El-Gheiti's "Ward El-Ganayen" (Garden Roses) (2011) and Mo{hcombining.dot.below} amed El-Meresi's "A{tcombining.dot.below}lequo al Nar 'Ala-al {Tcombining.dot.below}oghah" (Shoot the Tyrants) (2013) came in tune consecutively with the revolution's causes, the moments when revolution finally broke out, and the subsequent trials of the leading members in the ousted regime. A newly-won sense of freedom on both levels of content and form is marked in the three plays where classical realism, verbatim theatre, improvisation, and allegory are used. A clear vision of the present volatile political moment in Egypt is not reached by any. They represent a metaphor for a revolution that is still in search of an end or rather of an author, a revolution that is "still in the making." © Common Ground, MahasenBadra, All Rights Reserved.