My paper analyzes the play Homo Empathicus (2014) by Rebekka Kricheldorf. The play describes a community of hyperempathic people in which the distinguishing traits of religion, biological sex, and age have disappeared. In representing a postdramatic society, Kricheldorf takes the ethic of ‘political correctness’ to the extreme (that is, the linguistic practice through which discrimination on the basis of social class, gender, bodily characteristics, etc., can be eliminated): the elderly become ‘Long-Lived’, and the young are ‘Young-Lived’. The grave digger is an ‘Earth-Rester’, and the manager of a public spa is a ‘Hygiene Specialist’. Jeremy Rifkin’s book, The Empathic Civilization: The Race to Global Consciousness in a World in Crisis, in which the Homo empathicus was theorized for the first time, was the main impulse behind the play. Another significant inspiration came from the Guide to Non-Discriminatory Language, Behaviour, and Representation published by the Austrian Ministry of Labor and Social Affairs in 2010.

中文翻译：

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全球经济危机中的自然选择：丽贝卡·克里切尔多夫 (Rebekka Kricheldorf) 的“移情人”(Homo Empathicus) 中经济人的灭绝

我的论文分析了 Rebekka Kricheldorf 的戏剧 Homo Empathicus (2014)。该剧描述了一个由过度移情的人组成的社区，其中宗教、生理性别和年龄的显着特征都消失了。在代表后戏剧社会时，克里切尔多夫将“政治正确”的伦理发挥到极致（即消除基于社会阶层、性别、身体特征等的歧视的语言实践）：老年人成为“长寿”，而年轻人是“年轻的”。掘墓人是“地球保护者”，公共水疗中心的经理是“卫生专家”。杰里米·里夫金 (Jeremy Rifkin) 的著作《移情文明：危机世界中的全球意识竞赛》(The Empathic Civilization: The Race to Global Consciousness in a World in a Crisis) 首次将移情人理论化，是该剧背后的主要推动力。