اداء الأدواروالمقاومة فى الفن النسوى المصرى المعاصر دراسة لمسرحية سحر البرلس لداليا بسيونى وجرافيتى نون نسوة

The aim of this study is to trace how contemporary Egyptian women artists express their performativity through two different mediums namely theatre and graffiti. The basic argument behind this study is that the selected artistic products with their innovative experimental techniques enact the process by which these contemporary women writers perform change. Judith Butler’s performativity informs the methodological framework for the current reading/decoding of the selected works. Both forms are characterized by being the oldest expressive forms yet continue to be charged with the power to realize change and subvert hegemonic authorities. Although the study is divided into two separate yet complementary sections, it aims to reveal the common ground between both projects. In fact, both came to light in response/ reaction to the 25^th of January Egyptian revolution. In March 2013, Bassiouny wrote, performed and directed Magic of Borolus.  This study looks at Magic of Borolus as an example of resistance literature with the objective of incurring change. The other form of expression analyzed in this study is graffiti. On February 11^th 2012, the first anniversary of the overthrow of Hosni Mubarak, NooNeswa: Graffiti Harimi (Women Graffiti or Female Graffiti) launched its page on Facebook announcing that it is "going to overtake the streets of Cairo”. The group of young Egyptian activists  'took the streets of Cairo' eleven months later by spraying its walls and fences with stencils of black and white graffiti of iconic female figures  related in the hearts and minds of Egyptians with empowered women in their cultural heritage. All of the chosen figures (except for one) were popular faces of women actresses and singers. The intention of Graffiti Harimi was for women to reclaim public space as a tool of effecting change. Inspired by a belief in the power and uniqueness of written and visual arts as a means of expression, this paper explores the effects and responses of the incarnation/ reincarnation of cultural lore (the visual/ the performed) and captions and the text (the written) on the collective consciousness of a nation that revolts,  revolves and will eventually evolve. Resistance art in general and such forms of artistic expression that involve direct interaction with the public in particular play the role (among other roles) of an indicator of contemporary social processes and behavioral dispositions to becoming part of a subversive structure of political, social, medial, gender and artistic activism.