OBERAMMERGAU. — Village of the Bavarian Alps, in the Archdiocese of Munich, famous for its sacred performances of the Passion of Our Lord (“Passionsspiele”), which originated in a vow made by the inhabitants in 1633, during the Thirty Years’ War. Decimated by an epidemic that was then raging throughout Upper Bavaria, the surviving inhabitants of O. gathered before the village Cross and solemnly vowed, as an expiation, “to bring the tragedy of the Passion to life again every ten years, in humility, for their own edification and that of others, and for the contrition of hearts.”
From the initial indiscriminate participation of all the inhabitants in the performances, it gradually became necessary to establish certain rules for the selection of the principal actors. Even today, most of the latter are descended from the families that made the vow in 1633. Over the course of three centuries, the Passionsspiele have revealed truly great actors, who succeeded in bringing to life personifications that have remained famous. It is enough to recall Christ, impersonated by Flunger in 1850, admirable for his acting and stage presence; by Joseph Mayr (1870–80–90); and by Anton Lang (1900–10–22): the former was celebrated for his regal bearing, while the latter succeeded in conveying with great effectiveness the spirit of the Redeemer’s gentleness and humility. The text of the performance (which underwent successive adaptations), its direction, the design of the sets, the making of the costumes, and the composition and performance of the music are all the work of the village inhabitants. Even the architect of the new theatre (1930) is from O. The performance’s character as a “vow” has been jealously preserved. It is well known that fabulous sums offered by American magnates to film the spectacle or have it performed elsewhere were rejected. O.’s fame beyond the borders of Germany dates from the middle of the last century. The performances run from June to the end of Sept., with three or four performances each week (each performance lasts the entire day).
In O.’s Passionsspiele one observes a fresh and naïve emotionality, an acting untouched by theatrical schools yet no less assured, and a primitive but effective and delicate power to move the affections. But the performances should be measured and judged above all in light of their original and preserved popular character. — Vedi tav. 1.