Inevitability and Rebellion in the Metatheatre Style in the Drama of the Absurd (Semiotic reading of Eugene Ionesco theatre)

The study aimed to identify the textual techniques employed by playwright Eugene Ionesco to blend the themes of inevitability and rebellion within the play "The King Comes Out" using a metatheatre approach. This study presents a semiotic reading of the theatrical text, through which the semiotics of the title, the author's name and its significance, the role of theatrical instructions, the identity and status of the dramatic characters, and an attempt to extrapolate their connotations underlying the dramatic text's space, as well as the spatiotemporal structure and their relationship to the characters within the theatrical text. This study is an analytical study. The most important results of the study are:

-The author used the title as a semantic indication expressing the decline of the French colonial control forces. He wrote in a style that mimics reality, which is the sarcastic, mocking style that Ionesco adopted to express positions stemming from the heart of the crises interacting from every side when writing the play in 1962 AD, preserving the idea of the theatrical text by balancing between the fall and the decline of French colonial control, especially after World War II. Although the play also falls within the absurd drama, it mimics a problem that has been present since the beginning of creation and still is and will remain, which is the human confrontation with death.