초연결 시대의 초자연적 교감과 초연결성의 윤리

Abstract

This paper focuses on the process of recovering supernatural interactions for all the characters in Dead Man’s Cell Phone. Sarah Ruhl is recognized as a playwright and thinker who expands cultural influence beyond the theatre through a conscious confrontation with the contemporary era. Dead Man's Cell Phones represents a new dimension of dramatic action that generates ‘freedom of hyperconnectivity,’ ‘hyper-connected survival,’ and ‘spiritual networks’ that humanity has neglected due to the temptation of materialism and technological advances. The play revolves around the dead man Gordon and his cell phone, exploring the human ontology that needs to be filled with meaning in the context of change and making connections among humans as well as humans and non-human others. Organ trading in Dead Man's Cell Phone is a dramatic motif that first appeared in English dramas. In this play, organ trading is a dramatic representation of the ethics of hyperconnectivity and raises ethical questions about the consequences of hyperconnectivity. This play demonstrates that drama is a platform for the transition of human life in restoring primitive connectivity in the hyper-connected era.