OBERAMMERGAU. - 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 that was then raging throughout Upper Bavaria, the surviving inhabitants of O. gathered before the village Cross and committed themselves, by a solemn expiatory vow, "to bring to life again 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 in time to establish certain rules for the selection of the principal performers. Even today most of the latter are descended from the families that made the vow in 1633. The Passionsspiele have revealed over three centuries truly great actors, who were able to give life to portrayals that have remained famous. It is enough to recall the 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 first celebrated for his regal figure, while the second was able to convey with great effectiveness the spirit of gentleness and humility of the Redeemer. The text of the performance (which underwent successive manipulations), its staging, the design of the sets, the making of the costumes, the composition and performance of the music, are all due to the inhabitants of the village. Even the architect of the new theater (1930) is from O. The character of a "vow"
of the performance has been jealously preserved. It is known that fabulous sums offered by American magnates to film the spectacle or to have it performed elsewhere were refused. The fame of O., beyond the borders of Germany, dates from the middle of the last century. The performances run from June to the end of September with three or four performances a week (each performance lasts the entire day).
In the Passionsspiele of O. one notices a fresh and ingenuous emotionality, an acting untouched by schools but no less conscious, a power of moving the affections that is primitive, yet effective and delicate. But the performances must be measured and judged above all from the standpoint of their original and preserved popular character. - See plate 1.
Bibliography3 works
Alberto Giovannetti