Tahrir Square as Spectacle: Some Exploratory Remarks on Place, Body and Power

Abstract

This article treats the Egyptian 25 January revolution as a struggle over the right to produce signs within an Egyptian cultural landscape long plagued by the state's attempted monopoly over meaning. Like an actor onstage who acquires a new sense of agency through performance, the individual citizen in revolt performs an existential act aiming to reclaim the uninhibited, free body from the regime and its cognitive hold. The revolution thus lends itself to analysis via the tools of theatre and performance studies. This theatrical mode of knowledge can be achieved in at least two strategic ways. First, by regarding the revolution as a battle between two distinct powers, each deploying its own discursive and cognitive weaponry – the revolution, qua conflict of wills, can be analysed as an event with discernible dramatic dimensions. Second, by viewing the revolution which took place in a specific time and place as a theatrical event capable of transforming mundane bodies into creative ones, while also reconfiguring place into a theatrical space and thereby subverting oppressive state power.