This collection provides a comprehensive overview of the Oberammergau Passion play and its history from the 19th century onwards. Specialists in theatre and performance studies, comparative literature, theology, political studies, history, and ethnology initiate an interdisciplinary discussion of how Oberammergau has built a trademark from tradition. A typological and historical outline of this development is followed by detailed analyses of the blending of spaces, temporalities, and cultures, through which Oberammergau as an institution is stabilized while at the same time remaining open to the dynamics of historical change. The authors comprise the formation of a theatrical public sphere, literary imaginations, and layers of authenticity in modern practices of distributed communication that culminate in the notion of tradition as trademark. This collection is analysed from a wide spectrum of cultural historical perspectives, ranging from literary studies, theatre and performance studies to theology, political studies, and ethnology.

The Bavarian village of Oberammergau has staged the trial, crucifixion, and resurrection of Christ nearly every decade since 1634. Each production of the Passion Play attracts hundreds of thousands, many drawn by the spiritual benefits it promises. Yet Hitler called it a convincing portrayal of the menace of Jewry, and in 1970 a group of international luminaries boycotted the play for its anti-Semitism. As the production for the year 2000 drew near, James Shapiro was there to document the newest wave of obstacles that faced the determined Bavarian villagers. Erudite and judicious, Oberammergau is a fascinating and important look at the unpredictable and sometimes tragic relationship between art and society, belief and tolerance, religion and politics.

Every ten years since 1634, the Bavarian village of Oberammergau has performed the world's most famous Passion Play, recounting the last days of Jesus Christ. In 2010, presenting the play for the 41st time, the village broke with tradition to offer a new interpretation for a post-millennial, international audience. Drawing on interviews with villagers and international responses, this collection of new essays provides an analysis of the play by scholars who attended. Topics include changes in response to charges of anti-Semitism, how the play defines the village, how the performance changes the audience, and a comparison of Oberammergau 2010 with American Passion Plays, Indian pilgrimage drama and other German Passion Plays.

An illustrated historical and thematic examination of the Oberammergau passion play. Includes discussion of the various attempts, since the Holocaust, to eliminate antisemitism from the text.

Every ten years since 1634, the Bavarian village of Oberammergau has performed the world's most famous Passion Play, recounting the last days of Jesus Christ. In 2010, presenting the play for the 41st time, the village broke with tradition to offer a new interpretation for a post-millennial, international audience. Drawing on interviews with villagers and international responses, this collection of new essays provides an analysis of the play by scholars who attended. Topics include changes in response to charges of anti-Semitism, how the play defines the village, how the performance changes the audience, and a comparison of Oberammergau 2010 with American Passion Plays, Indian pilgrimage drama and other German Passion Plays.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

The history of the Oberammergau Passion Play begins in 1633. In the midst of the Thirty Years' War, as plagues brought suffering and death for months on end, the people of Oberammergau vowed that they would stage the 'play of the suffering, death and resurrection of our Lord Jesus Christ' every ten years. It was at Pentecost in 1634 that they first fulfilled this promise. In 2022, the community will present the Passion Play for the 42nd time, an unrivalled feat of continuity. Almost half the residents of Oberammergau, more than 2000 participants, mount the life of Jesus of Nazareth in a five-hour performance on the imposing open-air stage of the Passion Play Theatre in southern Bavaria. With more than one hundred performances and half a million spectators it is the most successful amateur production in the world, and is included on UNESCO's register of Intangible Cultural Heritage. The official illustrated book documents Christian Stückl's new production of the Passion Play with set designs, costumes and tableaux vivants by Stefan Hageneier. It is the third Passion Play production that the two Oberammergau-born artists have staged together, one that sees them forging a connection with the present day, highlighting the pressing issues of asylum and integration. The rehearsals are captured by Icelandic cinematographer Birgit Guðjónsdóttir, and her moving andrichly detailed photographs reveal the enormous energy and emotional force of this unique event.

Traces the origin of passion plays, and discounts the legend that the Oberammergau play was first performed in 1634, after the village was saved from a plague. Its true origin is in religious zealotry, antisemitism, and the profit motive. Surveys the various texts and concludes that the play falls far short of aesthetic demands, creates harmful stereotypes of Jews, and perpetuates the charge of deicide. Describes changes in the play during the Nazi era, its revival after World War II for financial profit, and recent unsuccessful efforts to revise the text. Pp. xv-xix contain an essay by Judson Shaver, "New Testament Roots of Christian Anti-Semitism."