Harold Pinter’ın Oda Oyununda İç / Dış Düalizmi ve Hakikat
The Dualism of Inside and Outside and the Truth in Harold Pinter’s The Room

Summary/Abstract: The aim of this article is to explore the inside and outside dichotomies associated with the Lacanian topological figure’s trajectory, torus, in Harold Pinter’s play, The Room. The intrusion of uninvited visitors problematizes Rose’s logocentric speech that hides her deficiencies behind her continuous movements around the stage prop of the kitchen sink with this drama repeating itself throughout the play. The intertextuality in the play reveals the truth about Rose’s original identity within mythopoeic thought, blurring the boundaries between inside and out. Torus’s trajectory elucidates energy that situates outside to the centre of the subject and the room, which is examined in Badiou’s notion of truth, hidden in black, blind Riley’s message to Rose. The study also draws on the notions of subaltern and the hegemony to expand the framework of analysis, concluding that the murderous cold of the outside is right at the centre of Rose’s room like a black hole that reflects the deficient, widening the hole by repetitive acts and speeches, caused by the chaotic movements and speech that the characters experience in the play. Rose’s sudden blindness, after Riley’s murder by Bert, erases the room’s feature of being a safe space. Thus, the hierarchy for all the characters in the play, which relies on the structure placing Man at the centre of the universe, is destroyed both epistemologically and ontologically. Rose becomes blind because of the light of the truth, constituted by the menace of the characters.

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