@article{article_194594, title={IONESCO’NUN KRAL ÖLÜYOR OYUNU ÜZERİNE GÖSTERGEBİLİMSEL BİR ÇÖZÜMLEME}, journal={Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi}, pages={19–29}, year={2012}, author={Öztokat, Nedret}, abstract={<p class="MsoBodyTextIndent" style="text-align: justify; line-height: 150%; margin: 6pt 0cm;"> <strong style="mso-bidi-font-weight: normal;"> <span style="text-decoration: underline;"> <span style="mso-fareast-language: TR;"> <span style="font-size: small;"> <span style="font-family: Times New Roman;">Summary: </span> </span> </span> </span> </strong> </p> <p class="MsoBodyTextIndent" style="text-align: justify; line-height: 150%; margin: 6pt 0cm;"> <em style="mso-bidi-font-style: normal;"> <span style="mso-fareast-language: TR;"> <span style="font-size: small;"> <span style="font-family: Times New Roman;">Eugene Ionesco’s “The King is dying” is one of the master pieces of Absurd theatre. The play is concerned with human reaction against death and his passion for power. </span> </span> </span> </em> </p> <p class="MsoBodyTextIndent" style="text-align: justify; line-height: 150%; margin: 6pt 0cm;"> <em style="mso-bidi-font-style: normal;"> <span style="mso-fareast-language: TR;"> <span style="font-size: small;"> <span style="font-family: Times New Roman;">In thıs article, we have studied the text of Ionesco in accordance with French Semiotics Method. This approch is basicalliy a discourse analysis which is based on two fundamental levels: First, the superficial structure of the text is analysed in its narrative, figurative and thematic components; Second, the deep structure of the text is studied. This level is compose of universal categories such as life/death, nature/culture, etc. </span> </span> </span> </em> </p> <p class="MsoBodyTextIndent" style="text-align: justify; line-height: 150%; margin: 6pt 0cm;"> <em style="mso-bidi-font-style: normal;"> <span style="mso-fareast-language: TR;"> <span style="font-size: small;"> <span style="font-family: Times New Roman;">Ionesco’s play puts Beranger on stage, the King of an absurd Kingdom; he is expected to die. </span> </span> </span> </em> </p> <p class="MsoBodyTextIndent" style="text-align: justify; line-height: 150%; margin: 6pt 0cm;"> <em style="mso-bidi-font-style: normal;"> <span style="mso-fareast-language: TR;"> <span style="font-size: small;"> <span style="font-family: Times New Roman;">The first Queen Margureite announces the beginning of his dying programme. But Beranger revolts against this decision. Thus, in the first step, we analyse the conflicting structure of the narrative component with its figurative and thematic configurations. In the second step, Beranger’s voyage to death is studied in its evolutiona aspect. </span> </span> </span> </em> </p> <p class="MsoBodyTextIndent" style="text-align: justify; line-height: 150%; margin: 6pt 0cm;"> <em style="mso-bidi-font-style: normal;"> <span style="mso-fareast-language: TR;"> <span style="font-size: small;"> <span style="font-family: Times New Roman;">In this sense, the play offers an important example also for the semiotics of the “presence”. (Called also “semiotics of tenseness”). In this point of view, the sense of Beranger’s voyage to death is presented in a parallel way with its fall from power. </span> </span> </span> </em> </p> <p class="MsoBodyTextIndent" style="text-align: justify; line-height: 150%; margin: 6pt 0cm;"> <em style="mso-bidi-font-style: normal;"> <span style="mso-fareast-language: TR;"> <span style="font-size: small;"> <span style="font-family: Times New Roman;">Our feature presents a new way of evolution of “the King is dying” under the light of new semiotic approaches. </span> </span> </span> </em> </p>}, number={3}, publisher={Istanbul University}