OBERAMMERGAU. – A village in the Bavarian Alps, in the archdiocese of Munich, famous for its sacred performances of the Passion of Our Lord (“Passionsspiele”), which originated from a vow made by the inhabitants in 1633, during the Thirty Years' War. Decimated by a plague then raging throughout Upper Bavaria, the surviving inhabitants of O. gathered before the village cross and solemnly vowed “to revive in humility, for their own edification and that of others and for the contrition of hearts, the tragedy of the Passion every ten years.”
From an initial indiscriminate participation of all the inhabitants in the performances, it became necessary over time to establish rules for the selection of the principal actors. Even today, most of these actors descend from the families that took the vow in 1633. Over three centuries, the Passionspiele have produced truly great actors who brought to life portrayals that have become famous. Suffice it to recall the Christ played 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 first renowned for his regal bearing, while the second rendered with great effectiveness the spirit of gentleness and humility of the Redeemer. The text of the performance (which underwent subsequent manipulations), its direction, the design of the sets, the making of the costumes, 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 “vow” character of the performance has been jealously preserved. It is well known that fabulous sums offered by American magnates to film the spectacle or to have it performed elsewhere were rejected. The fame of O., beyond the borders of Germany, dates from the mid-19th century. The performances run from June to the end of September, with three or four weekly performances (each lasting the entire day).
In the Passionspiele of O., one notes a fresh and naive emotionality, an acting untouched by schools yet no less conscious, a power to stir the primitive affections, yet effective and delicate. But the performances must be measured and judged above all in terms of their original and preserved popular character. – See pl. I.