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The 1997 University of Southern Queensland production of “Oidipous The King” displays many aspects of semiotics. ... The general theatre space and human progress throughout that space in “Oidipous The King” is imperative. Examples of these proxemic moments include:
• During Scene Three, Oidipous and Kreon confront each other while an Elder and a number of dancers are present. ... For instance, when the Herdsman is escorted into the space, he is led by two Attendants of Oidipous. ...
• The relationship between Oidipous and Iokaste is affectionate, but reserved. ... Situations in “Oidipous The King” that display Kinesics and Deixis include:
• The Aboriginal dancers. ...
• The Finale features the entrance of a servant whose primary function is to enlighten those present of the demise of Iokaste and to notify of Oidipous’ deed unto himself. ... ” (Finale; Line 1275-1289)
• Throughout the performance Oidipous’ body stature gradually changes. ... This shows that Oidipous feels remorse and shame for his actions and no longer feels the confidence to confront other individuals as he once did. ...
• The Finale finds Oidipous moaning of his demise. ... There are a number of these displayed throughout “Oidipous The King”, some of these include:
• In Scene One the Priest enters with a group of young children all wearing white robes and featuring markings in white paint on their faces. ... This observation is reinforced in Choros Five, Line 1462, when Oidipous’ two daughters enter wearing dark, green clothing. Oidipous says “Terrible things they’ll say: You’re father killed his father, sowed his seed in that same womb where he himself was sown, and then he fathered you by her who’d given birth to him.
Approximate Word count = 1342
Approximate Pages = 5.4
(250 words per page double spaced)
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