THE HOME OF THE PASSION PLAY--OBERAMMERGAU
Nestled at the foot of the mountains in the highlands of Bavaria, is the
little village of Oberammergau, the home of the world-famous Passion
Play. Although of German extraction, these humble people were opposed to
war with all their power, but when it came they were compelled to
submit. One of the saddest pictures during the war was that of these
people as it was given by Madaline Doty, which was published in the
Atlantic Monthly in 1917.
This writer said: "The village was silent and the people were in great
distress. There were no carriages or even push carts; no smiling people,
no laughter, and no gay voices were heard. Old people sat about as if
dazed. Five hundred and fifty out of eighteen hundred population had
gone to war." The village was bankrupt. There was no money. It was like
a plague-stricken place. The theater building was locked up. The little
stores had nothing to sell. No person was allowed more than one egg per
week and but few could get that. People were on the point of starvation.
During the season of 1910 the writer made the journey to Oberammergau on
purpose to see the Passion Play and this chapter is but a brief
description of it. Journeying from Zurich, Switzerland, to Oberammergau
a stop was made at Munich. From that place there is but one little dinky
railroad and one of the greatest mobs I ever got into was at the depot
in Munich. A thousand people were trying to get on a train that could
carry only a few hundred. Finding a porter who was persuaded to open a
compartment with a silver key a half dozen of us had a comfortable
place. The distance to the mountain village is less than one hundred
miles, but it took from five in the evening until midnight to reach it.
Having purchased a ticket for the play on the following day weeks
before, and with it lodging for two nights, a gentleman took me from the
depot to the home of one of the players and I went to bed. Early the
next morning while eating breakfast at the home, on looking through the
door I discovered that one end of the house was a cow stable. Going from
the house all that was necessary was to follow the crowd, for people
seemed to be coming from everywhere. Passing through the winding, narrow
streets, soon the large theater building was reached.
This building is one hundred and forty feet square. The roof is
supported by six gigantic arches that are sixty-five feet high in the
center. The floor is built on an incline so that every one of the four
thousand seats is a good one. The stage reaches entirely across the
building and is in the open air, the whole end of the building open. At
each end of the stage are small buildings representing the Palace of
Pilate and the Palace of the High Priest. Back about twenty feet from
the edge of the stage is a covered stage with a curtain and in which the
tableaus are arranged. There are fourteen entrances to the building.
The large orchestra is just in front of the stage but lower than the
people, so unless one happens to be near the platform the musicians
cannot be seen at all. The end of the entire building being open, the
rain beats in and the cheapest seats are those where one is likely to
get wet should it rain. The orchestra is kept dry by a large canvas that
is pulled out when the rain begins. Back in the inner covered stage is a
network of ropes, pulleys, lances, arms for Roman soldiers, dishes for
banquets, costumes and wardrobes for the players, all in perfect order
and ready for use at a moment's notice.
The play itself occupies about eight hours. There are six hundred and
eighty-five people in it, but only one hundred and twenty speaking
parts. The principal actors are not many, but during the play there are
many children as well as old men and women take part. There are
twenty-two tableaus; seventy-six scenes and in all eighteen acts. The
tableaus represent Old Testament prophecies of the events portrayed. It
must be remembered, however, that the play represents only the events
that occurred during the last week of Christ's life.
The music is simply wonderful. For generations these mountain people
have been developing a tenderness and pathos that really grips one's
heart. The music was composed by a man by the name of Dedler, about one
hundred years ago, and while it gives expression to the composer's
tender heart, yet experts say that it reminds them of Hayden and Mozart.
The paintings in the building are those of great masters. It took an
entire year to paint the scenery for the play in 1910, but they could
not afford to spend so much upon it in 1922. The curtains and costumes
are of fine material, nothing shoddy or cheap about it.
The story of the beginning of the Passion Play is as interesting as a
novel. It was in the year 1633. A pestilence was raging in the villages
in the mountains of Bavaria and death rode down the valleys like a
mighty conqueror. Hundreds were smitten and the hand of death could not
be stayed. Whole villages were depopulated and even the dead were left
unburied. For a while the village of Oberammergau was favored, while
neighboring villages were stricken. A line of sentinels were stationed
around the village and a strict quarantine was maintained. Finally, love
of home and the desire to see his family caused a laboring man, Casper
Schushler, who was working in another village, to steal through the line
and spend an evening at his own family fireside.
In a couple of days all was changed. The songs of the children were
hushed in silence, for this man had brought the plague into the village.
In thirty-three days eighty-four had perished and scores of others were
smitten by the hand of death. It was a great crisis and looked as though
that soon there would not be left among the living enough to bury the
dead. A public meeting was called. It was a sad gathering of hollow-eyed
men and women. They spent the whole day in earnest prayer. They vowed to
the Lord that day that if he would hear their petition and save them,
they would repent of their sins as a token of their sincerity, and that
they would try to re-enact the scenes of Calvary and thus give an object
lesson of God's love for humanity.
The chronicler says that from that moment the hand of death was stayed.
Not another person in the village died from the plague. Every one
smitten recovered and by this they knew that the Lord had heard their
prayers. At once they set about to carry out their vow. From that day
forward they aimed to give the object lesson every ten years and have
done so except on occasions when they have been hindered by war, as two
years ago. In 1910 a quarter of a million people endured the hardships
and inconveniences of a long, tiresome journey, sometimes spending many
hundred dollars, to see the play.
The day I spent there was one of the shortest days in my memory. Sermons
not an hour long have sometimes seemed longer than this entire day. A
strange silence was everywhere. There was no gaiety such as one sees at
a theater. There was no applause, no laughter. Criticise it if you will,
condemn it if you like, yet the fact remains that it is the greatest
object lesson of the ages. It would be hard for any man to see it and
not come away with a more tender heart and a better appreciation of the
world's Redeemer. The late William T. Stead truly called this play "The
Story That Has Transformed the World."
No other story so fills and thrills the soul. I saw non-Christian men
sit trembling with emotion and great tears rolling down their faces.
Sometimes one's indignation was so aroused that it was hard to sit
still. At other times the fountains of the great deep were broken up and
one's heart would nearly burst. On this particular day every one of the
four thousand seats were taken and five hundred people stood up from
morning until evening. It is as impossible to describe the Passion Play
as it is to describe a song. It is real life before your eyes. I have
never yet seen pictures of it that did not make me heart-sick, for it is
impossible to give a true picture of it on the screen.
On years when the play is given it generally begins about the middle of
May and closes the last of September. They give it regularly on Sunday
and Wednesday of each week during this time. During the busy season it
is often repeated for the overflow on Monday and Thursday and
occasionally on Friday. Tickets for the regular play are generally sold
out beforehand but as usual a great many reach the place without tickets
and have to be accommodated in this way.
All the years the highest ambition of the boys and girls in the village
is to so live that they will be chosen for some prominent part in the
play. No one can be chosen unless born in the village and this confines
it to the village. No one is chosen for a prominent part if there is
anything against his character and that places a premium on right
living. Hence one can easily see their reason for hating war with all
their power. While narrow in their peculiar religious ideas, no doubt,
yet a more consecrated and devoted class of people are perhaps not found
in another village on earth.
All told there are nearly a thousand people who are connected in some
way with the play and as the population of the village is less than two
thousand, it practically takes in every family and sometimes every
member of the family. The choosing of the important players is always an
important event in the village. After a season closes no characters are
chosen for seven years. At length the day arrives when the committee of
fourteen who are to choose the leading characters for the play three
years hence is elected. It is a great day. The assembly meets in the
town hall. Every parishioner has a vote. The mayor of the village is
chairman.
After this committee of fourteen is duly elected a meeting is soon
called. It takes several months to consider the problem. Every player
must sign a contract to carry out his part to the best of his ability.
Offenders are punished with great severity. Married women are barred
from the prominent parts. It is said that more than one hundred
rehearsals are held before the opening day.
The receipts for a season are enormous. The sale of post cards and
souvenirs greatly add to the sum. It is not surprising that these people
are often accused for running the play for the money there is in it. But
the leading characters only receive a few hundred dollars for the
season's work. The church receives a large amount. The theater building
and upkeep represents a fortune. To care for the thousands who attend,
the town must have a good water supply, an up-to-date sanitary system,
and many things that would be uncalled for in an ordinary town. Located
as it is away in the mountains, it is very difficult to have the things
that are necessary in the way of improvements.
The people of Oberammergau are a humble, hard-working people. Their main
business is wood carving and they are experts in this work. Without the
Passion Play season the demand for their product would not be so great.
As is said above these people are very religious. They have a very
expensive church or two. On a peak of one of the highest mountains in
the vicinity is a gigantic cross. This is kept polished and when the sun
shines upon it the sight is very beautiful. Many journey to the top of
this mountain and the view richly repays one for the difficult climb.