The Dynamic and Theatrical Worlds of the ‘Midan’

Abstract

‘All the world’s a stage …’ tells us the Bard of Avon. Goffman’s application of Shakespeare’s age-old metaphor to our everyday practices helps us understand the complexity of social interaction. His dramaturgical sociology allows us to engage better with the frames of repeated behaviors that we ‘perform’ in social contexts. However, emphasizing the theatricality of action and interaction, especially for problems at the macro-level like acts of revolution, is crucial to make sense of the form of spectacle that results in popular demonstrations, sit-ins etc., in which everyone contributes as actors/spectators to imagine and/or negotiate a different way of being or governance. This paper aims to study the active dynamics of turning an everyday locale such as Midan al-Tahrir into a liminal space in which staged performances on political and artistic levels take place in an attempt to shed light on the inseparability of the political and the aesthetic, the event and the performance. The Egyptian revolution of 2011 highlights the public’s awareness of the symbolic and performative importance of occupying a space, and the creative power that both nurtures and feeds on this liminal experience. In this very example, the Arabic word midan is helpful because of its dynamic connotations as opposed to the static English ‘square’, as this paper examines the experience of Tahrir as a ‘Midan’ where the real, the ritualistic and the playful actively coexist.