The staged version of András Visky’s drama The Escape can help those present to move from one stage to another, and finally to the religious stage, as defined by Søren Kirkegaard. The laboratory space, the theatrical aesthetic of woundedness, memory, and the human body as a central metaphor also allow those present to experience the moment of escape and of liberation. The various stagings of Visky’s dramas realise the aesthetics of woundedness: the central candidate of the semantic web, the protagonist of the resulting performances – the risen Christ – does not appear on stage, the resulting performance can only refer to him in its fragmentary form. While the performance, in the aesthetic stage, lives only for the moment, presents itself and then ceases to exist, in the ethical stage it appears on stage as a mourning ceremony, and in the state of infinite resignation it abandons the conditions of its own realization, that is to say, it subordinates itself to the evocation of the Christ event.