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Ahmed and Mohammad Malas, two Syrian actors who have made themselves the unofficial clowns of the revolution, have emerged from a vibrant culture of cyber-activism. They have made use of Facebook and YouTube to circulate work that simultaneously reflects on the possibilities for, and failures of, social media and satellite television to forge a new idea of Syrian identity – one that prominently features active participation in the public sphere. I argue that unlike earlier Syrian plays that employed similar tropes (the interrogation scene as emblematic of the state–citizen relation, the failed actor as symbol of the disheartened citizen), the Malas twins use these tropes to demonstrate the necessity of resistance. Their plays assert that Syrians will persist in resistance because new technologies have provided new options and have transformed Syrian identity.
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