ambulance reached the momentary place of accident in front of the door of the EINSTELLUNGSRAUM.

These incidents of course reinforced the eeriness that that creeps over when one listens to this story. It was unbelievable enough that the accident happened at just the most fitting moment and gave a magical momentum to the denoted but the in this way accidentally caused twist  of the told and the real impact doubled the fall and in this case lengthened the depth of the abyss which eventually became the jump target for Steen. The coincidence of story and topic event embodied also the distance between 'me' and the 'other' which seemed the more frightening when the spectators had in- carnated in front of them the victim that was saved and was - at least partially - cured from paraplegia and other injuries. Peggy Phelan refers to anthropologists that suggest to look at rituals, art and theatre as an opportunity to meet death to state the paradox question if it wasn't possible to see life as the searched for creation that appears through rituals, art and performances (7). That art and rituals are midwifery and help thus the

resurgence of vegetation and animal world as well as serve fertility Hans Peter Duerr has collected much evidence from pre and early history as well as mythology. Many rituals have cultic jumps in which the movements namely traverse through death but are oriented towards life. Thus in the Cranes' Dance and in the Jump over the Bull (8).
In the updating of the passage through death an attempt is made by the detour Death to conquer what in life hasn't been granted (9) or obtained whilst the experience in the hereafter - similar to a ritual - triggered indeed a disruption in the time continuum so that a return from the jump out of life  allows for a life that can be continued as another shifted in time. Though one cannot talk of a true new start nor of a continuation but rather of a resumption or a re-doing of the same. With that the still existing body is newly reclaimed.


© Johannes Lothar Schršder