Nineteenth- and Early Twentieth-Century Representations of the Oberammergau Passion Play: Heredity, Eugenic Theatre, and “Epic Selection”

The Oberammergau Passion Play became internationally famous in the latter half of the nineteenth century. Beginning in the 1840s and 1850s and through the early twentieth century, English-speaking foreign tourists from Ireland and the United Kingdom, the United States, Canada, and even Australia published a surprising number and variety of accounts of travel to the village and attendance at the Passion Play. Professional and amateur historians described the production as an evolutionary throwback or curious hybrid of ancient Greek and medieval theatre, regarding it as an object and event of antiquarian interest. Foreign female travelers attended the play in impressive numbers, and their accounts provide insight into contemporary women's readings of theatre, travel, spirituality, gender inequality, gendered spaces, and cultural difference. Protestant writers reflected uneasily on the play's communication of spiritual truth by means of images. And all of these accounts, whether published in the popular periodical press or as monographs, in turn encouraged increasing numbers of travelers to make the same journey—represented sometimes as a religious and sometimes as an artistic pilgrimage—to the isolated Bavarian village.

Latency and Topicality: Communication of Threats in Medieval Theatre Latenz und Aktualität: Bedrohungskommunikation im mittelalterlichen Schauspiel

The twelfth-century 'Ludus de Antichristo' already contains a number of the threatening scenarios (Ottoman Expansion, Heresy, Antichrist, etc.) that maintain a presence in the theatre up until the sixteenth century. This essay aims to investigate which scenarios of religious threat are dominant in the dramas of the later Middle Ages and Reformation, and what kinds of dramatic and production techniques are used in order to perform these scenarios on stage. Three levels of dramatic staging may be distinguished (Latency, Presence, Topicality), and these will be analysed here on the basis of three exemplary plays published before and after the Reformation (Hans Folz, 'Der Herzog von Burgund' / 'The Jewish Messiah'; Niklaus Manuel, 'Vom Papst und seiner Priesterschaft' / 'Of the Pope and his Priesthood'; Thomas Naogeorg, 'Pammachius' / 'Pammachius'). Bereits im 'Ludus de Antichristo' (12. Jh.) findet sich ein Großteil der Bedrohungsszenarien (Osmanische Expansion, Häresie, Antichrist etc.), die im Schauspiel bis ins 16. Jh. präsent bleiben. Der Aufsatz fragt danach, welche religiösen Bedrohungsszenarien im spätmittelalterlichen und reformatorischen Schauspiel dominant sind und auf welchen dramatischen Darstellungstechniken deren Wirkung in der Aufführung beruht. Drei Ebenen der theatralen Inszenierung von Bedrohung (Latenz, Präsenz, Aktualität) werden analytisch unterschieden und anhand von drei Schauspielen vor und nach der Reformation (Hans Folz, 'Der Herzog von Burgund'; Niklaus Manuel, 'Vom Papst und seiner Priesterschaft'; Thomas Naogeorg, 'Pammachius') exemplarisch beschrieben.

Philip Butterworth and Katie Normington, eds. Medieval Theatre Performance: Actors, Dancers, Automata and their Audiences. Cambridge: D. S. Brewer, 2017. Pp 296. Hardback £60.00 ISBN: 9781843844761.

This review considers Medieval Theatre Performance: Actors, Dancers, Automata and their Audiences.