In the myth of Gilgamesh, with the desire for immortality Uruk King Gilgamesh travels days and nights. Zeynep Avcı's Gılgamış play is the rewriting of the myth of Gilgamesh. While rewriting of the myth, Avcı breaks down the hierarchies of myth; and reconstructs it by playing with the fiction, language and structure of the myth. When it comes to dismantling and reconstructing a text, the post-structuralist philosopher Jacques Derrida's deconstruction theory comes to mind. Deconstruction is destroying the hierarchy, setup and structure of a text and reproducing it. While deconstructing the play, the author follows the myth’s journey and adventure; travels back to the play’s time; learns the myth’s secrets and knowledge; lives the protagonist’s experiences; blows away the cobwebs. In Avcı’s Gılgamış play, the immortality produces contrasts such as punishment-award, present-torment, comfort-chaos. In the play, myth’s immortal character Serpent tries to rip out the immortality like it is a sickness. As for the immortal man Utnapishtim of the myth is left in a hopeless space in the play; says that the death is the salvation of the soul. The play turns the desire for the immortality of the myth upside down. It empties the meanings of immortality while reconstructing the myth. The play of Gılgamış woven around the dualities of god-man, slave-master, power-subject, enlightenment-darkness, earth-underground and sight-blindness. Because of this connection, Avcı's Gılgamış play will be examined withing the framework of Derrida's theory in this article. How the myth of Gilgames was deconstructed in the play will be examined and the desire of immortality of the Uruk King Gilgamesh will be discussed through Derrida's concepts of pharmakon and différance.