How Egypt Used Theater to Fight British Occupation | Prof. Carmen Gitre

Theatrical stages often mirror the intricate evolution of the societies that build them. Professor Carmen Gitre explores the burgeoning performance culture of Cairo between 1867 and 1930. This era witnessed a shift from street storytelling and shadow plays to formal theater houses designed for an emerging class of Western-educated intellectuals. The discussion traverses the grand spectacle of the Suez Canal’s opening to the subversive nationalist songs of performers like Mounira al-Mahdiyya. Through this historical lens, the stage appears as a critical site for negotiating modernity, colonial influence, and Egyptian identity. 00:00 Introduction 01:28 The Evolution of Performance 03:56 Commissioning an Operatic Staple for a Global Stage 07:35 Street Storytelling & the Shadows of Earlier Traditions 12:02 Urban Redesign Mirroring a Parisian Vision of Modernity 18:46 Defensive Developmentalism & the Weight of Sovereign Debt 27:21 Syrian Practitioners & the Burgeoning Role of the Press 32:31 Efendi vs. Basha 39:01 Vernacular Choices for an Elevated Public Education 44:31 Satirical Observations through a Modernist Lens 51:14 The nuances of the women's movement 57:04 Disembodied Voices in the Era of Early Recording 58:00 Performances Spilling into the Nationalist Fervor of 1919 01:03:02 Cinematic Transitions and Legacies for the Everyman Carmen Gitre is an Associate Professor of Middle East History and Associate Chair of History at Virginia Tech University. She earned her Ph.D. at Rutgers University in 2011. From 2011 to 2014, she taught in the International Studies and History Departments at Seattle University. Her academic interests include cultural history, imperialism, and the relationship between performance, identity, and modernity in Egypt. Her book, Acting Egyptian: Theater, Identity, and Political Culture in Cairo, 1867-1930, was published by the University of Texas Press in 2019. Other publications include 'The Dramatic Middle East: Performance as History in Egypt and Beyond,' and 'Nonsense and Morality: C