The History: 19th Century

1811

As a result of a ban by Maximilian von Montgelas, the Passion Play was not performed again until 1811. Yet again, new text had to be approved. This time, the author was Dr. Othmar Weis (1769-1843); yet again a monk from Ettal. His theme was the gospels and the theme of atonement. He removed the allegorical, mythological and legendary elements and introduced more contemporary theology, using a more realistic prose style. He also referred to social conflict. Another significant and long-lasting contribution came from Oberammergau music teacher Rochus Dedler (1779-1822), who composed a brand-new score.

Othmar Weiß

1815

To give thanks for the ending of the Napoleonic wars, 1815 saw the 20th season of the Passion Play. Dr. Othmar Weis revised and rewrote large parts of the script; Rochus Dedler did the same for the score. Both made more revisions for 1820. Scenes involving the merchants and crowds were expanded (for the ‘Entry into Jerusalem', for example). Some ideas were borrowed from the literature of the time. A new stage was built in the Empire style by J. N. Unhoch (1762-1832), the parish priest, with ‘houses' for Annas and Pilate, as well as wings. Again, there were new settings for the music.

Rochus Dedler

1830

Permission for the 22nd Passion Play season was granted by King Ludwig I on one condition: that the stage no longer be erected over the cemetery. In fact, the changed had been made already. The stage for the 1815 performance had been erected on a meadow at the north-western edge of town. That site and shape have governed the structure of the Passion Play Theatre ever since. There was room for an audience of 5,000. An estimated 18,000 spectators attended.

The stage in 1820, designed in Empire style by J.N. Unhoch (1762-1832)

1840

A picture of the new venue, northwest of the village.

1850

The oldest existing photograph of the Passion Play: Tobias Flunger as Christ in 1850.

1860

In 1856, Daisenberger created a new script. He based the play on the Gospel of St. John, emphasizing the drama of the Passion rather than realism. He also played down the political and psychological aspects of characters, such as Judas. At the same time, he added other dimensions. Drawing on classical tragedy, he widened the popular appeal by adding legends, such as Veronica and Ahasver, the Wandering Jew. He took material from the Stations of the Cross, such as Jesus' encounter with Mary. And, he also made historical reference to older Passion Play texts, using a more emotional approach, symbolic use of language and simple symbols, such as the cross as the tree of life.

1870

In 1866, Alois Daisenberger wrote prologues in ancient Oden meter for the tableaux vivants. However, the villagers turned down the idea of a Passion Play in verse, just as they had with the verse text of J. N. Sepps. Cancelled because of the Franco-Prussian War, the play was performed in 1871.

1880

Again, the number of visitors increased. There were signs of self-assertion by the Church in its struggle with the German Empire, newly-formed under Otto von Bismarck. The costumes were made by the Munich Court Theatre.

1890

Alois Daisenberger

A stage was built according to designs by C. Laufenschläger. (The houses on the side were separated, a neo-Renaissance façade added and modern equipment introduced.) The seating was partially covered with a roof.

The new production was theatre-style, with realistic historical sets and costumes.

The new stage structure