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The Interface of Religious and Political Conflict in Egyptian Theatre Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Amany Youssef Seleem, Stage Directing Diploma Graduate Program in Theatre The Ohio State University 2013 Dissertation Committee: Lesley Ferris, Advisor Nena Couch Beth Kattelman Copyright by Amany Seleem 2013 Abstract Using religion to achieve political power is a thematic subject used by a number of Egyptian playwrights. This dissertation documents and analyzes eleven plays by five prominent Egyptian playwrights: Tawfiq Al-Hakim (1898- 1987), Ali Ahmed Bakathir (1910- 1969), Samir Sarhan (1938- 2006), Mohamed Abul Ela Al-Salamouni (1941- ), and Mohamed Salmawi (1945- ). Through their plays they call attention to the dangers of blind obedience. The primary methodological approach will be a close literary analysis grounded in historical considerations underscored by a chronology of Egyptian leadership. Thus the interface of religious conflict and politics is linked to the four heads of government under which the playwrights wrote their works: the eras of King Farouk I (1920-1965), President Gamal Abdel Nasser (1918-1970), President Anwar Sadat (1918-1981), and President Hosni Mubarak (1928- ). While this study ends with Mubarak’s regime, it briefly considers the way in which such conflict ended in the recent reunion between religion and politics with the election of Mohamed Morsi, a member of the Muslim Brotherhood, as president following the Egyptian Revolution of 2011. This research also investigates how these scripts were written— particularly in terms of their adaptation from existing canonical work or historical events and the use of metaphor—and how they were staged. The staging of these works highlights the problems faced by Egyptian directors interested in this inherently political work as they ii faced censorship issues. Only a few of the scripts have English translations, the rest are only available in Arabic. When a published English translation is unavailable, I have provided English translations of key selections from the texts with the original Arabic in the appendix. iii Dedication Dedicated to all the lovely and inspiring people in my life: The memory of my lovely Dad, My Lovely & Super husband, My Blossom Flowers, Youssef, Omar, Mariam, and Malak Finally to My kind Mother iv Acknowledgments I would like to thank a number of people, who extremely helped, advised, and supported me in devolping my ideas. First I am extremely thankful to my advisor Lesley Ferris for being generous in giving positive feed back and helpful comments. Many thanks to Beth Kattelman for offering me her time and guidance. I cannot thank Nena Couch enough for her continuous support. I would like to thank my department, the Depatment of Theatre, for welcoming me and for being my family. After arriving at OSU I became homesick for my Egyptian family. When I return to Egypt I know I will experience the similar feeling for missing my family in the Department of Theatre. Each time I will think of my experiences at OSU, many names will come to my mind: Mark Shanda, Dan Gray, Jeanine Tompson, Eric Mayer, Damian Bowerman, Beth Simon, and many many more. But when it comes to Janet Parrot, I have to remember each thing she taught me: how to be a great professor and how to be a wonderful person. Thanks Janet for the countless things you did for me while I worked under your supervision in the video-editing lab. I am also graetful to my friends who were always there for me: Kim Swensen, Matt Yde, Andrew Blasenak, and Ashraf Zaky. From my home country Egypt, I would like to thank three people, without their help this dissertation would not have been possible. First, to professor Nehad Selaiha for inspiring me, giving me her time, and for offering her extremely helpful books and articles. Second, to Professor Galal El Sharqawi, who offered me help in finding all the v rare theatrical reviews and other pieces of evidence about the performances he directed that I consider in my research. Finally I cannot thank Mr. Mohamed Abul Ela Al- Salamouni enough for generously givining me his scripts that I consider in my dissertation. When it comes to my family, I really cannot thank my husband Assem Nagaty enough for making me the happiest person on earth, supporting my crazy thoughts, standing always by my side, and giving me the four most valuable things in my life: Youssef, Omar, Mariam, and Malak. Thanks Mom and Dad for teaching me how not to give up. Finally, I want to thank the Egyptian government for fully funding me. vi Vita 1995 ………………………… B.A., Accounting, Cairo University 1999 ………………………… B.A., Theatre, Academy of Arts, Cairo 2003 ………………………… Graduate Diploma in Stage Directing, Academy of Arts 2009-2011 ………………....... Arabic Instructor, Introduction to Arabic (101.01), The Department of Near Eastern Languages and Cultures (NELC), The Ohio State University. 2010 – 2013 …………………. Video Editing Assistant, Video Lab, Department of Theatre. The Ohio State University. Fall 2011-Spring 2012 ……… Graduate Research Assistant, Jerome Lawrence and Robert E. Lee Theatre Research Institute, The Ohio State University Libraries. Summer 2012-2013 …………. Graduate Administrative Associate, Department of Theatre, The Ohio State University. Grants / Awards April, 2013 …………………. Graduate Student Excellence in Recognition for Service Award, Department of Theatre, OSU 2008-2012 ………………….. The Egyptian Government: full four-year scholarship for PhD in Theatre. June, 2011 …………………... Outstanding Contribution and Service Award, The Department of Theatre, OSU. vii June, 2010 …………………... Creative Development in Video Production Award, Department of Theatre, OSU. Translation 2010 …………………............. Co-translated House of Flesh, a play by Rasha Khiry adapted from Yusif Idris’s short story with Melinda McClimans, Middle East Studies Center, The Ohio State University. Staged in Columbus, Ohio. Production: Video 2009-2010 …………………... Directed, wrote, and edited short videos including Polygamy, and The Curtain, screened at FilmFest at Middle East Studies Association anuual meeting, 2010 and in Columbus, Ohio. Fields of Study Major Field: Theatre viii Table of Contents Abstract …………………………………………………………………………….. ii Dedication ………………………………………………………………………….. iv Acknowledgment …………………………………………………………………... v Vita …………………………………………………………………………………. vii Chapter 1: Introduction ……………………………………………………………. 1 Chapter 2: Religious Leaders Between History and Heritage ……………………... 15 Chapter 3: The Religious and Political Conflict in Egyptian Theatre: King Farouk I and President Nasser …………………………………… 47 Chapter 4: The Religious and Political Conflict in Egyptian Theatre During S P President Sadat’s Regime ………………………………………………. 95 Chapter 5: President Mubarak and the Muslim Brotherhood: Terrorism on a G Global Scale ……………………………………………………………... 131 Chapter 6: Conclusion ……………………………………………………………… 175 Appendix: Original Arabic Text …………………………………………………… 190 Biblography …………………………………………………………….................... 209 ix Chapter 1: Introduction There is a burgeoning interest in Arabic theatre in the English-speaking world. Additionally, Egypt has been in a new spotlight since January 25, 2011, the date of the Egyptian Revolution, which was part of the Arab Spring. A central goal of the numerous factions who took part in the revolt was the overthrow of the regime of President Hosni Mubarak. Moreover, Islam has been more strongly associated with terrorism since the September 11, 2001 attack by Osama ben Laden. Islam is a religion of peace and forgiveness. Despite this belief by the majority of Muslims world-wide, there are those who exploit religion to achieve political goals that produce a negative impression of Islam, abusing Islam in the name of political gain. This constellation of events warrants a closer analysis of how art has interceded and continues to be a social space for critical thinking and political action. Before the separation between religion and politics, when the ruler and the religious man were a single person, the religious leader was called the Imam, caliph, or wali. But after the separation between religion and politics, which was paved by the French ocuupation (1798-1801) and finally established by the British (1882-1956), a conflict between the two different figures evolved. Both tried to control the political situation in Egypt and dominate political power. Some Islamists claim that it is forbidden by God to disobey the ruler. They justify this by stating that the ruler is governing by using Shari’a (God’s Law), and any disagreement with it is against God. Shari’a is a 1 highly developed system. It derived from three different sources. Two of them are considered primary sources. The first one is the Quran by God and the second is the Sunnah by the prophet Mohamed. The third source was established by religious scholars who are known as A'immah (the plural form of Imam). That source was derived from human interpretation and it can be reinterpreted without any conflict with the God’s law. Thus, it is acceptable to debate issues that are not literally mentioned in the holy Quran or by the prophet. My dissertation – The Interface of Religious and Political Conflict in Egyptian Theatre – examines a range and variety of concerns expressed in theatre productions over the last sixty years, which have taken place in the public and private sectors of Egyptian theatre. Egyptian theatre
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