Wael Shawky’s ‘Drama 1882’: A Visual Exploration of Historical Narratives

Exploring Wael Shawky’s “Drama 1882”: A Captivating Artistic Journey

If you think a filmed opera sung entirely in classical Arabic, which meticulously narrates the intricate tale of a relatively obscure and failed 19th-century uprising in Egypt, might lack appeal, allow me to share an enlightening perspective.

Since its debut at the Venice Biennale in April, “Drama 1882,” a 45-minute video central to an installation by the Alexandria-based artist Wael Shawky, has been enchanting visitors to the Egyptian Pavilion. When I visited in mid-June, long after the initial wave of art world insiders had departed, I observed tourists as they wandered into the dimly lit space. After a brief moment, many settled onto the floor and benches, drawn in by the vibrant, candy-colored stage sets, a melodious and rich score, slow-motion yet stylized choreography, and even the presence of a real donkey.

The imagery presented is unforgettable: groups of soldiers move in perfect harmony; top-hatted ambassadors from European powers sit barefoot on a tilted table or dangle off its edges while deliberating the fate of the Middle East; and dancing girls entice a drunken patron in a lively tavern setting. Yet, amid the surrealistic visuals, the historical events portrayed are grounded in reality.

At 53, Shawky has established himself in the global art scene, showcasing his works in significant exhibitions such as Documenta, Sharjah, and Istanbul Biennials. He often revisits historical narratives to reshape our understanding of contemporary issues, typically through innovative filmed performances that feature marionettes, live actors in oversized masks, or even children. His previous works retell classic tales — such as those of the Crusades or the expulsion of Muslim Arabs from Europe — by presenting history from an Arab perspective. In 2015, art critic Holland Cotter praised “Cabaret Crusades,” a trilogy of films exhibited at MoMA PS1, describing it as “truly brilliant.” He noted, “The story is one of almost unremitting violence,” which is surprising given that all the actors are marionettes. (Even Lady Gaga expressed her admiration.) Equally imaginative, “The Song of Roland: The Arabic Version” (2017) vividly portrayed the expulsion of Muslim Arabs from Spain in the eighth century, featuring live performances by singers and musicians from Sharjah and Bahrain in the traditional style of Arabian Gulf pearl divers.

In “Drama 1882,” Shawky masterfully employs film, sculpture, and drawing to recount the Urabi Revolt, which was spearheaded by a young military officer from a peasant background whose reformist message resonated deeply with the common populace. The uprising ostensibly began with the murder of a donkey owner by an unnamed Maltese individual, culminating in a violent confrontation between Alexandrians and British military forces that resulted in approximately 300 Egyptian fatalities. This revolt marked the decline of Ottoman control in the region and set the stage for decades of British colonial dominance in the Middle East, including a 70-year occupation of Egypt.

A scene from “Drama 1882” features an impressive cast of 150 performers staged in Alexandria. As Shawky notes, the actors “become like marionettes,” a metaphor that encapsulates his artistic vision of reframing historical narratives to gain a deeper understanding of the present.