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In the year of the millennium the celebrated and world-renowned Passion Play was again presented at Oberammergau, Bavaria. I attended this experience on 8th October 2000, at the very last performance for this decade, and to take part in some of the activities and devotions surrounding it. In the 17th Century, the countries of that region were ravaged by the 30 years' war and in its wake the plague. The land, villages and people were devastated by these scourges and in the village of Oberammergau a vigilante system operated to prevent anyone entering, this being a vain attempt to prevent more deaths. One inhabitant, Kaspar Schister, who had been working away, stole back into the village by night, bringing with him a renewed outbreak of the dreaded black death. Council members met and in resolution, swore before the high altar in the church, that if this pestilence receded that they would reverently re-enact Christ's Death and Passion. It is recorded that from that moment no more deaths occurred. The first performance was put on in 1634. This year of grace 2000 marks the 40th set and the 350th anniversary of the performances. And I was privileged to be present at the very last one of this decade. The trip was organised by officers of The Rowans Hospice in Purbrook in association with Christian Tours (UK) Ltd, the main party being in the area for one week. My own group of five went in extremely wet weather, by taxi to Gatwick, only to find that the aeroplane was waiting for us at Stansted. We raced by another taxi to catch it and eventually boarded an elegant BAe146 with 4 massive jet engines, anhedral wings and with 80 seats aboard. We had the jet to ourselves, there being as many cabin and flight staff as passengers! On arrival at Salzburg we were met by the tour representatives and whisked away by night to the beautiful ski resort of See in the Tirol, where we stayed among the snow-covered mountains throughout our visit. The south Tirol seems to be an overtly religious area, with the locals greeting each other with the salutation "Grüss Gott", the wayside shrines and the constantly attended graveyards - fondly illuminated by night and meticulously upkept. The graves were marked by wonderfully wrought ironwork crosses, each subtly different from its neighbour. Moreover, at my own attendance to the morning service on a Tuesday at 7.am in the little village of See there were over 50 parishioners! The many churches were architectural gems, often with tall, slender spires or the baroque-style onion domes, glistening in the sun. The organisation at the Passion Play House site was done with meticulous efficiency. There were shuttle-buses from the car and coach parks, guides and helpers to be on hand lest the way should be lost, and all manner of sights to see and take in as 'tourist attractions' as well as those providing more spiritual and aesthetic pleasures, as for example: the Catholic Parish Church of SS Peter and Paul - breathtakingly beautiful in the baroque manner. There were exquisite paintings, frescoes and carvings and an air within of wonder at the artistic quality and care of the fabric and ornament. The Lutheran Church - austere and homely, with welcoming staff on hand and an organ playing quietly in the background. Much written and other visual material for contemplation and discussion was available. the town with its bustling shops, 'Pontius Pilate's Garden' with sculptures, and several cafés and restaurants. The frontages and sides of many structures were painted and ornamented. the people of all nationalities and creeds, assembled to witness the Play or try to get tickets for entry at the last moment. the setting in a wide valley in the snow-covered mountains of Bavaria. during the interval I went up to the actor who played the role of Jesus and impudently asked for his autograph. This was gently given and is mine to treasure inside the programme, and together with a compact-disc of the sublime music (most reminiscent of Bach) and the Passion Play 2000 illustrated book which I purchased. I was told that the playhouse covered auditorium could seat over 4,500 people and I took my place in the front row, with an unrivalled view of the stage, orchestra, choir and the play as it unfolded. The stage area itself was a vast open-air set with many sections where tableau and sub-scenes could be enacted, together with a huge frontal apron for crowd and principal scenes. The play was in the German language and the detailed programme showed the text in English and German. Orchestral music played, some of the words were sung, in solo and in the great massed choir, and scenes were enacted with total realism in eleven acts: The Prologue to the last act is an excellent summary: The lamb is dead. The earth
unfolds the Holy One. Rod Dawson |
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page last updated 1 APRIL 2001 |
