Abstract:

In the short play Tabataba by the French theatre writer Bernard-Marie Koltès, moving from the communication model of Roman Jakobson, around the "monologue-dialogue", we tried to communicate the dramatic speech formed between two people. After pointing out the scope of our work in the introduction, in the framework section of the communication model of Roman Jakobson, we discussed and defined the concept of communication. In theory, we opened the concepts of sending, sending, receiving, sending, message, channel and code. In the same section, we separately described the function of the language called the feeling, call, message, poetry/art, relationship and superior language. In our review of four sections, in the series, node and solution sections, we interpreted the sister and brother’s complaints from each other, their expectations from each other and their non-communications with quotes from the game in terms of language functions. These processes are judging, supervising, planned, hopeless, indicating superiority, indicating accurate attitudes and the reflections of open communication between sister and brother in the interaction context of its opposite indicative, problem-oriented, unplanned, understandable, equal, experimental attitudes. In the Dramatic Deep Structure Analysis section, by moving from the findings we obtained, we found that the heroes have an invisible desire behind their apparent desires and they have hidden what they really want from each other. This process of communication between the sister and brother, according to the model, we analyzed the subtext messages that appear in the closed communication under the light of the data displayed by open communication. As a result, we interpreted the dramatic text by moving from the theory of the communication model to the scale of the application by speech.

Keywords:

Abstract:

We tried to analyse the dramatic discourse between two people formed by “monologue- dialogue” in French writer Bernard-Marie Koltès’s play Tabataba, and this analysis is based on the communication model of Roman Jakobson. We have explained the concepts of addresser, addressee, context, message, contact and code in this theory. Then we have described referential function, poetic function, emotive function, conative function, phatic function and metalingual function of the language one by one. In our four-part study we have interpreted the complaints of the siblings about each other and their expectations from each other in terms of the functions of the language. We have separated those interpretations as dramatic exposition, dramatic node, dramatic resolution and analysis of dramatic deep structure sections. We tackled said steps by reflecting defensive communication and open communication in the context of judgemental/introductory, supervisory/problem-oriented, planned/unplanned, unconcerned/understanding, superior/egalitarian and certain/empirical attitudes. In the analysis of the dramatic deep structure, based on the findings we have obtained, we found that the heroes have invisible wishes behind their apparent wishes and that they hide those wishes in their subconscious. We analysed this communication process between siblings in line with the model, then in the light of the data displayed with open communication, we analysed the messages of the subtext that emerged in closed communication. Therefore, based on the communication model theory, we moved the dramatic text to an implementation format using discursive analysis.