ABSTRACT

The aim of this article is to offer an insight into dimensions of institutionalised theatre in the 2011 revolution in Egypt through the example of two plays by one of the most distinguished contemporary Egyptian playwrights, Lenin al-Ramlī (b. 1945). I examine how the intellectual’s selfless advocacy for change dramatised in al-Ramlī’s pre-revolution 1989 play Ahlan yā bakawāt (‘Welcome Beys’) turns into the intellectual’s isolation from the scene of change in the post-revolution 2016 play Iḍḥak lammā tamūt ('Laugh When You Die'). I apply Michel Foucault’s notion of heterotopias to explain how the times and spaces dramatised in al-Ramlī’s plays intersect with the spatiotemporal coordinates of their productions. I argue that through their representations of the characters of intellectuals, which are self-reflective of the Egyptian intellectual establishment, the plays challenge rather than justify the solutions adopted by intellectuals in their negotiations with political authorities and the public during two contrasting types of crisis: oppression and revolt. The choices of times and spaces in which the characters are introduced contribute further to this task.

摘要

本文的目的是通过以当代最著名的埃及剧作家之一列宁·拉姆利（Lenin al-Ramlī，1945 年生）的两部戏剧为例，深入了解 2011 年埃及革命中制度化戏剧的维度。我研究了知识分子对变革的无私倡导如何在 al-Ramlī 的 1989 年革命前戏剧Ahlan yā bakawāt（'Welcome Beys'）中变成知识分子在 2016 年革命后戏剧Iḍḥak lammā tamūt（'当你死的时候笑'）. 我运用米歇尔·福柯的异托邦概念来解释 al-Ramlī 戏剧中戏剧化的时间和空间如何与他们作品的时空坐标相交。我认为，通过他们对知识分子角色的表现，这些角色是埃及知识分子机构的自我反思，这些戏剧挑战而不是证明知识分子在与政治当局和公众的谈判中在两种截然不同的危机中所采取的解决方案是正确的：压迫和反抗。引入角色的时间和空间的选择进一步促进了这项任务。