| Abstrakt: |
The present paper will explore some of the re-enactments of the so called ‘Arab Spring’ in selected performances from Egypt, Tunisia and Morocco, with their seamless connections between fiction and non-fiction. Among the concepts examined are Habermas's ‘public sphere’, Deleuze's ‘revolutionary-becoming’ and Rebecca Schneider's ‘re-enactment’. The remediation of revolution in performance reveals the material conditions and geographic locations of social unrest. Significantly enough, artistic re-enactments of the revolution have already been inflicted by ‘techno-imagination’, whereby most of us have become either spectators or citizen journalists of public dissidence, and yet we have been connected to the unprecedented upheaval by watching mediated images or implementing and re-editing them for distanced audiences. [ABSTRACT FROM PUBLISHER] |
