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1811 As a result of Montgelas’ prohibition in 1801 the Play was not given until 1811 after the submission of a new text by the monk Dr. Othmar Weis (1769-1843), priest of Ettal. This text concentrated on the gospels and the central idea of atonement, removed the allegorical, mythological and legendary elements, introduced contemporary theology, prose style, realism and wordy, moralising interpretations of the tableaux and reference to social conflicts. Music composed by the Oberammergau teacher Rochus Dedler (1779-1822). 1815
20th Passion Play year – special peformances as thanks for the end of the Napoleonic wars. Further extensive new versions of the text by Weis and the music by Rochus Dedler (continuing until 1820). The merchants’ and people’s scenes were expanded (inter alia by the "Entry into Jerusalem”). Portions were borrowed from the literature of the time. A new stage was created in Empire style by beneficiate J.N. Unhoch (1762-1832) with flanked Annas and Pilate "Houses” and side wings. New settings. 1830
22nd Passion Play year – Ludwig I granted permission for the play under the condition that the stage lo longer be erected, as previously, over the cemetery. This is why the 1815 stage had been set up on a meadow on the northwestern edge of town. Its ground plan determined the structure of the Passion Play Theatre to the present day. 5,000 spectators could be accommodated in front of it. From 1830 to 1850 a romantic view of the play was discovered and widely publicized by S. Boisserée, G. Görres, I.F. Lentner, L. Staub, E. Devrient, M. Deutinger, J. Sepp and others. Approximately 18,000 attendees. 1840 23rd Passion Play year – 35,000 people attended the play. The increase was attributable, among other things, to the enthusiastic reports of well-known attendees, who discovered and widely publicized their romantic view of the play: these included Sulpice, Boisserée, Guido Görres, Joseph Friedrich Lentner and Ludwig Staub. The picture shows the new performance site in the northwest. 1850 Alois Daisenberger (1799-1883 – from 1845 parish priest in Oberammergau) became director and made some changes in the text in the spirit of his teacher, J.M. Sailer. These changes revealed a rich popular education impact based on historical and dramatic work. An elected "Passion Play Committee” organized the performances. For the first time, reports of the play were published in French and English. Tobias Flunger as Christ in 1850. The oldest existing photograph of the Passion Play. 1860In 1856, at the request of the government and bearing in mind the 1850 critiques of versions by J.N.Sepps, among others, Daisenberger created a new version. He gave preference to the Gospel of St. John and sought to emphasize the drama of the Passion instead of realism, loftiness and idealization and instead of the political and psychological aspects (e.g. in the character of Judas). On the other hand, basing his work on ancient, classic tragedy, he strove for a more popular appeal through the insertion of legends (Veronica, Ahasver) and subject matter from the Stations of the Cross (e.g. Jesus’ encounter with Mary), historical references to older Passion Play texts, through a more emotional approach, a symbolic use of language and simple symbols (the cross as a tree of life). 1870
In 1866, Alois Daisenberger wrote prologues in ancient Oden meter for the tableaux vivants, but the community refused to accept his suggestion of a Passion in verse, any more than they liked the verse text of J.N. Sepps. The play, which had been canceled because of the war, was continued in 1871. 1880Increasing numbers of visitors. Also signs of self-assertion by the Church in the struggle between it and the State under Bismarck. Costumes made by the Munich Court Theatre. 1890
A stage was constructed to designs of C. Laufenschläger. (The houses on the side were separated, neo-Renaissance façade, technical modernization.) The seating was partially roofed over. |
