[On Stage] A Life Story That Began from Death

Play 'Repairing the Living'

Focusing on the psychological changes of a brain-dead young man and those around him,
reexamining the meaning of death,

raising philosophical discourse on organ donation
and shedding light on life beyond death

Actor Son Sang-gyu passionately performing in the play 'Repairing the Living'. (Photo by Project Group Ilda)

[Asia Economy Reporter Donghyun Choi] "Cardiac arrest is no longer a sign of death; from now on, death is confirmed by the cessation of brain function. In other words, if I no longer think, I no longer exist." (From the play ‘Repairing the Living’)

At the 23rd International Neurology Congress in 1959, French neurophysiologist Pierre Mollaret (1898?1987) presented a paper titled ‘Irreversible Coma.’ It stated that when a human falls into a deep coma, brain waves and brainstem responses disappear, making recovery impossible. It also proved that progressive brain necrosis occurs in this state. Later, in 1968, during the World Medical Assembly held in Sydney, Australia, the medical community accepted irreversible coma as a new definition of ‘death.’ Today, brain death is recognized as medical death in almost all countries.

The play ‘Repairing the Living’ tells the 24-hour story surrounding 19-year-old Simon Limbres, who was declared brain dead after a traffic accident. It is based on the novel of the same name by Maylis de Kerangal, which sold over 500,000 copies in France. Following its premiere in 2019, it is currently being revived at Jeongdong Theater in Seoul. It is a one-person play in which a single actor performs 16 roles over 100 minutes.

Actor Son Sang-gyu passionately performing in the play 'Repairing the Living'. (Photo by Project Group Ilda)

At 11:40 a.m. at Le Havre Hospital in France, Marian enters the emergency room with a dazed expression, her gaze wavering. Her beloved only son Simon lies dependent on a ventilator. "He is in an irreversible coma due to skull injury," the doctor says, but Marian does not realize that this means death.

"His heart is beating, isn’t it?" Marian and her husband Sean refuse to accept their son’s death. The heart, pumping up to 5 liters of blood per minute and contracting about 100,000 times a day, proves life. However, the hospital urges them to decide on organ donation, saying Simon’s consciousness will not return and that delaying reduces the freshness of the organs. The play focuses on the psychological changes the couple undergo as they come to accept their son’s death, prompting the audience to reconsider what death truly means.

What is death? Medically, the definition is clear: irreversible cessation of heart and lung function or irreversible loss of whole brain function including the brainstem. However, not everyone agrees with this ‘medically agreed’ definition of death. Many aspects cannot be explained by simple dichotomies such as brain versus heart or consciousness versus body. Some believe in supernatural resurrection and live with their deceased family members’ bodies for decades. Others trust future advanced medical technologies and choose cryonics. Differences in religion and funeral rites across countries also reflect varying perspectives on death.

Actor Son Sang-gyu playing Bun in the play 'Repairing the Living.' (Photo by Project Group Ilda)

Ultimately, Marian and Sean remove their son’s ventilator and choose organ donation. The play then introduces philosophical discourse on organ donation, leading to a story about life beyond death.

Regarding organ donation systems, two international models are commonly used: ‘Opt-out’ and ‘Opt-in.’ Opt-out, adopted by major European countries such as France, Spain, and the United Kingdom, presumes consent for donation unless a person has explicitly registered refusal. Opt-in, implemented in countries like South Korea, Japan, and the United States, requires explicit consent for organ donation; otherwise, donation is not assumed after death.

About 18 hours after Simon was declared brain dead, his heart is transplanted into 51-year-old Claire Mezan, who suffers from myocarditis. Simon’s heart, now inside Mezan’s body, beats vigorously, circulating blood evenly to all organs. As the lights go out and the stage falls silent, the sound of the heartbeat grows louder. The audience might have felt this way: Simon saved Mezan, and Mezan gave life to Simon.

This content was produced with the assistance of AI translation services.