포스트휴머니즘 연극에 드러난 실존적 인간의 인식 변화 -프란츠 카프카 원작, 히라타 오리자 각색/연출, 로봇 연극 을 중심으로

This thesis explores the meaning of existence revealed in Hirata Oriza's play adapted from Franz Kafka's, which applies the motif of metamorphosis to robots instead of worms. In order to approach the meaning of the human being in existence presented in the original and the play, two topics that I have focused on are death and art. In the original work art is the only exit to existential awareness that holds the time of life and death is presented as a pathway of salvation where such being ultimately comes to pass. The play presents a collective death by staging a robot equally endowed with the limits of human beings and blurring the distinction between life and death. Thus the death presented as an event that causes the encounter with the existential self in the original work is reexamined as vanity, and Gregor, who is saved by death, is reconsidered as the despair of those who can not die. Even the art that enabled existential awareness in the original work is presented as a state of ‘phantom limbs’ that exists somewhere but can not know its residence. This play reveals the modesty of despair, which can not die even in its existential state, and of desiring the unknown world through the art of poetry, suggesting another point against the Cartesian human concept in the post-humanism perspective.