Jack Paterson Theatre

“This is the magic of theatre” – Jerry Wasserman, The Province

Article: The Theatre Backpacker (www.theatreartlife.com)

OBERAMMERGAU PASSIONSSPIELE: EXPLORING A SACRED THEATRE

By Jack Paterson | Part 2 of 10
Originally published January 13, 2024 at www.theatreartlife.com
Original Article Link: Exploring a Sacred Theatre – Part 2 (theatreartlife.com)

ARRIVAL AT THE OBERAMMERGAU PASSIONSSPIELE

Date: June 2022
Location: Oberammergau, Germany
Activity: Passionsspiele in Performance

I arrive in Oberammergau exhausted. An overnight FlixBus from Paris, an early morning coffee at the Munich Hauhbahof to pick up my hard copy ticket from a friend of a friend, a train ride partially the way there, and then – due to some track being down – a shuttle bus the rest of the way. On my back is one of my favorite purchases, an Osprey backpack. It’s large enough to hold most of my meager possessions but small enough to qualify as carry-on on most budget airlines.

It’s 12:30 and I have an hour before the Passionsspiele begins. My feet remember the way to the theatre from the small train/ bus station, and I drop my bag at the coat check. Oberammergau is different from my last time here. Then, the village was relatively quiet with few outsiders other than some hikers and the soldiers stationed nearby amongst the late season snowflakes. Now it is teaming with people – mostly tourists in shorts under the mountain sun, many older in age, many speaking english with American accents. For an older German couple I meet, coming to the Passionspiele has been a dream long in the making.

Oberammergau Passion Play 2022
View of Oberammergau – Photo Florian Wagner

A hundred and twenty years ago – despite all my travels still an unimaginable amount of time for a first generation North American – Rabbi Joseph Krauskopf described it in his “A Rabbi’s Impressions of the Oberammergau Passion Play“ as:

“…the people streamed toward the hall, in all sorts of attire, speaking all kinds of languages, displaying all sorts of physiognomies, representing all sorts of classes and conditions:—lords and cardinals, bishops and priests, Jews and Gentiles, generals and privates, merchant-princes and venders, for all I know, probably also kings and queens incognito. Some came on horseback, some in touring-coaches, some in liveried carriages, some in hay-wagons; some who had breakfasted, and some who enjoyed their breakfast while marching along, a glass of beer in one hand, an opera-glass and a sausage in the other.”

Somethings haven’t changed.

We enter through security, two long lines with men on the left, women on the right. I raise my arms for the pat down – cigarettes, passport, phone and ticket in one hand, my notepad, pen and an English language script in the other hand.

“Anything in pockets?”

“Uh..lighter…small change.”

Whenever I’m in Europe, I’m constantly reminded of how much more heightened security is than back home in Canada.

I find my seat and look around. The venue is packed like a stadium event. There are a few empty chairs scattered around. I wonder if those belonged to people who purchased tickets before Covid and what may have happened to them.

The Passionspiele starts and I begin to cry. Perhaps due to the travel exhaustion, perhaps because this is the realization of over two years of effort and emails, perhaps – if I’m a little less selfish – because I know the hopes and dreams of an entire community have been channeled into this production.

Oberammergau Passion Play 2022
The Crucifixion – Photo Birgit Gudjonsdottir

Since 1634, the Oberammergau Passionsspiele has been performed every 10 years by the inhabitants of the Bavarian village of Oberammergau in Germany. The earliest continuous survivor of the age of Christian religions vernacular drama, it is one of the longest running western performing arts traditions and a UNESCO event of Intangible Cultural Heritage.

During the Catholic/ Protestant Thirty Year War (1618-1648), the bubonic plague devastated Bavaria. According to local legend, the Oberammergau villagers vowed that if God spared them, they would perform a play every 10 years depicting the life and death of Jesus. No one died of plague after that vow and the villagers have kept their word to this day.

Lead by prominent German director Christian Stückl (Artistic Director of Münchner Volkstheater, recipient of 2021 DEUTSCHER KOORDINIERUNGSRAT Buber-Rosenzweig-Medaille for outstanding service promoting Christian & Jewish interfaith dialogue) since 1986, it is an unbelievable community effort. This year over 1700 performers, singers, musicians, and technicians – all nonprofessional residents of the village and spanning all ages – perform in a 7hr spectacle on one of the worlds largest open-air stages. Participants must be either born Oberammergauers or  residents of over 20 years. For a many, it’s an act of spiritual devotion.

The “Passion” refers to the Christian theological term expressing Jesus’s spiritual, emotional, and physical pain over the crucifixion. Passion plays are dramatic representations of his trial, suffering, death, and resurrection. More than a staged drama for most who watch or particpate in them, passion plays are opportunities to interact with and meditate on the stories of their faith.

Originating in traditions of the Latin Church, the Passionsspiele has evolved. Drawing from the past and informed by the present, the contemporary Passionsspiele comprises spoken dramatic dialogue, contemporary and traditional music, choral accompaniment, tableaux vivants (living pictures), and newly created text (this year including the story of “Kaspar Schisler“, who is believed to have brought the 1633 plague to Oberammergau). It has become one of Germany’s leading religious, cultural, and theatrical events.

Oberammergau Passion Play in 1860

Links & Sources:
A Rabbi’s Impressions of the Oberammergau Passion Play:
https://sacred-texts.com/jud/rio/index.htm

DEUTSCHER KOORDINIERUNGSRAT Buber-Rosenzweig-Medaille:
https://www.deutscher-koordinierungsrat.de/node/1039

Münchner Volkstheater:
https://www.muenchner-volkstheater.de

Oberammergau Passionsspiele:
www.passionsspiele-oberammergau.de/en/home

UNESCO:
https://www.unesco.de/en/culture-and-nature/passion-play-oberammergau

Images:
1. Oberammergau Passion Play 2022 The Loss of Paradise – Photo: Birgit Gudjonsdottir
2. Oberammergau Passion Play 2022 View of Oberammergau – Photo: Florian Wagner
3. Oberammergau Passion Play 2022 Crucifixion – Photo: Birgit Gudjonsdottir
4. Oberammergau Postcard from 1860

Continue Reading The Theatre Backpacker

OBERAMMERGAU PASSIONSSPIELE: EXPLORING A SACRED  THEATRE

PROLOGUE or BACK ON THE ROAD (Part 1)

Perhaps because I’m watching a known innovator who values the traditional,  sacred, and the new, it seems right to write about another ritual, and another village far from the Balinese sun.

OBERAMMERGAU (Part 2)

The Oberammergau Passionsspiele has been performed every 10 years since 1634. The earliest continuous survivor of the age of Christian religions drama, it’s one of the longest running western performing arts traditions.

OBSERVING REHEARSALS - DAY 1 (Part 3)

The first performance of the Passionsspiele in 1634 was performed on a simple wooden construction at the parish church cemetery over the fresh graves of plague victims.

EXPLORING OBERAMMERGAU (Part 4)

The passionsspiechele echoes through every aspect of Oberammergau. I walk down streets with names like “the kingdom of heaven” or named after past writers and composers of the play.

MUSIC AND TABLEAUX VIVANT (Part 5)

To maintain the unique traditional skill sets needed for the music, the village has multiple choirs and orchestras operating throughout the 10 year gaps between productions.

EVOLVING TO MEET THE TIMES (Part 6)

Widely considered the best part, this year Judas is played this year by 22-year-old actor Cengiz Görür.

FACING THE PAST (Part 7)

With the challenging history of passion plays and the contemporary history of the region, Oberammergau doesn’t hide from its past. Nor does it hide from its responsibilities.

HUMAN STORIES (Part 8)

There is something very German in the aesthetic. Despite the pageantry, ritual, and scale of this project, this is a story about human beings.

LESSONS & REFLECTIONS (Part 9)

In the past , Passion Plays were the few opportunities for local people to engage with their spiritual and religious stories in their own voices.

EPILOGUE (Part 10)

For tradition to survive, it must stay true to its purpose but also evolve to meet the needs of the people and the time