In Psychological Engineering in European Theatre, Dr. Fahmi seeks to understand the political role of European theatre after World War II, when the Absurdist movement emerged. 

He pays particular attention to how "the theatre of the absurd" helped psychologically re-engineer European populations with new values, customs, traditions, and beliefs entirely different from those before the war.

Dr. Fahmi also pays particular attention to the works of famous Irish playwright Samuel Beckett. 

The Encyclopedia Britannica describes the "theatre of the absurd" as “dramatic works of certain European and American dramatists of the 1950s and early ’60s who agreed with the Existentialist philosopher Albert Camus’s assessment, in his essay The Myth of Sisyphus (1942), that the human situation is essentially absurd, devoid of purpose.”  

Hungarian-British critic Martin Esslin coined the term in a 1961 essay of the same name. This essay included critiques of famed dramatists such as Samuel Beckett, Eugene Ionesco, and Arthur Adamov.

The "theatre of the absurd" is characterized by themes of pessimism, hopelessness, uncanniness, and anxiety. 

Dr. Fahmi claims that the theatre of the absurd, especially Beckett's works, presented and addressed concepts like psychological engineering and Neuro-Linguistic Programming (NLP) over a decade before these terms were coined.  

Like French philosopher Jean-Paul Sartre, Dr. Fahmi wonders whether it is “true that life begins with despair.” 

On 9 May 1945, communist Moscow declared its victory over Nazi Germany, which put an end to World War II. Consequently, Europe was split, heralding a new era. 

Eastern Europe was governed by the Soviet Union and its communist government in Moscow, while Britain and the United States led Western Europe. 

Culture, ever amorphous, seeped across the geographical "lines in the sand" and transformed Europe’s sociopolitical consciousness.

The book examines the cultural landscape of Western Europe, especially France, which strongly reflected the shock of European society by transforming existential philosophy into a tangible art form: "theatre of the absurd."

Dr. Fahmi states that this emergence was a direct repercussion of the people’s suffering during World War II. The collective grief crushed all of their hopes and dreams. 

Beckett’s work, Dr. Fahmi explains, reflected the alienation of the human condition following the war. 

"Indeed, anyone who enters Beckett's world will only leave with a cynical smile and significant questions,” he wrote.

“The pessimism, misery, and psychological fragmentation suffered by individuals in European society, as exposed in Beckett’s works, transformed into a form of comedy. However, it was black comedy, so dark one might say it was extremely grim. For the characters, time was distorted, perception was confused, and the psyche was disturbed to the point of death."

Beckett’s work also used psychological engineering to prepare European populations to embrace existential atheism as their ideology and guiding principle. This contributed to the dismantling of the Christian society in Western Europe, which embraced existential thought, while Eastern Europe adopted atheistic communism. 

The strength of Soviet communism surpassed Western Europe, whose ideological centre was the Vatican.

This leads Dr. Fahmi to present theatre as a cultural tool for achieving political and social objectives. He reasons that the European individual was destined to experience fragmentation and dispersion in two phases: after the war and during the "peace times" that followed.

Dr. Fahmi compares psychological engineering to architectural engineering in its construction. He explains that Beckett’s works present a new literary and artistic criticism method through their deconstruction and reconstruction of the human psyche. 

He argues that psychological engineering goes beyond NLP, which operates later by dismantling an individual's beliefs and principles and then programming the unconscious mind, much like reformatting a computer.

He emphasizes that the unconscious mind is crucial because it governs personal convictions, opinions, conversations, and assumptions.

It stores sensory and material memories, emotions, desires, and unconscious reflexes such as heartbeat, breathing, and digestion. It also controls acquired skills, habits, and psychological and physical energy. 

Through these functions, the conscious mind begins to shape a person’s life, emotions, and psyche according to the programming stored in the unconscious, which the individual perceives as reality. 

Beckett achieved this in his theatre by utilizing techniques such as reverse film projection (flashbacks), a technique known in dramatic writing as retroactive analysis.

Dr. Fahmi insists that Beckett actively shaped his audience's unconscious mind through these techniques.

Through the characters, dialogue, and repetitive actions in circular forms, the audience begins to identify with the protagonist’s plight, experiencing feelings of fear, despair, and pity.

This opening of the senses allows them to receive and internalize the messages embedded in the play, reinforcing the new programme in the present for the future.

Every political and economic shift is accompanied by a social transformation, which creates a new intellectual and cultural elite. This is confirmed by the rise of the bourgeoisie with its capitalist ideology.

In his book, Dr. Fahmi argues that psychological engineering is part of a larger plan to create a unified global government. 

This plan involved the dismantling of the Muslim world and the Arab region, culminating in the events of the Arab Spring in 2011, the spread of the COVID-19 virus in 2020, the Russia-Ukraine conflict, and the wars in Gaza, Syria, and Lebanon in 2023.

Today, social media has become the new method of shaping public opinion. 

Just as writers, philosophers, and intellectuals helped prepare European populations for a new phase after World War II, social media now serves the same purpose: preparing the globe’s populations for a new world order.

Psychological Engineering in European Theatre concludes with the argument that as social media continues disseminating negative emotions, people are being pushed toward isolation in a virtual world. 

Through this engineered psychological manipulation, the masses are being prepared for the dismantling of Islamic societies and the collapse of their nations, paving the way for a unified world government takeover.