Introductions for Traditional Christmas Plays

GA 274 — 19 December 1920, Dornach

Introduction

We will take the liberty of showing you Christmas plays from ancient folklore today. The two plays that we are presenting here were found by Karl Julius Schröer in the 1850s in the German-speaking enclaves in Hungary, in the area north of the Danube and west of Bratislava. Germans immigrated to these areas at the end of the Middle Ages and even a little later. Among other cultural possessions that they owned in their simplicity, they also brought these Christmas plays with them to their new homes.

Karl Julius Schröer, with whom I talked a lot about these things in my youth, who was able to tell me from his personal experiences how, in turn, in his youth - in the forties and fifties of the last century - among these, I would say Slavic and Magyar populations, these Christmas plays were always performed by the devious Germans living there, and they really had an extraordinarily serious effect on the minds of these people around Christmas time, with great zeal.

In these Christmas plays, we therefore have germs that have gradually developed from a longer cultural tradition that we can trace back to the 13th century. So that until the last decades of the 12th century, the need arose to present to the people, in a dramatic way, what refers to the biblical story, what refers to the Christian traditions, namely also to the Christian legend, throughout the widest areas of Central Europe – through Thuringia to the Rhine and across the Rhine to Alsace, then through all of southern Germany, through northern Switzerland.

It can be said that much of modern drama is based on these mystery plays – that is what they are called, after all.

Initially, these plays were linked to church services. When Christmas, Easter, Pentecost, Corpus Christi and many other holy festivals approached, people gathered in the church. The church itself was decorated in the most diverse ways. And in the 12th and 13th centuries, the clergy themselves performed, initially in Latin, what was contained within the Christian tradition, within the Gospel story.

So we can easily trace back how, for example, the scene at Christ's tomb was dramatically depicted. Three priests dressed as women: the three women who came to the tomb; an angel sitting on the tomb that had just been left. What the Gospels tell us, what tradition has preserved, was dramatically depicted.

But people also gradually began to present the things that were initially presented in Latin in the vernacular. And in the 14th century we already see very elaborate dramatic presentations, for example of the story of the wise and foolish virgins.

We know that in 1322 in Thuringia, at the foot of the Wartburg, in Eisenach, in the house “die Rolle”, a play about the wise and foolish virgins was performed that was so significant in the fate of a person that the landgrave Frederick, who was present, who has the remarkable epithet, “with the bitten cheek,” that the landgrave Frederick with the bitten cheek had a stroke from it and even died in 1323 as a result of this impression.

But not everyone felt the same way; rather, it was precisely what was presented by such performances that was extraordinarily solemn in those times. For a long time, the dramatic representation that was given in Eisenach and made such a great impression was lost. The play was later rediscovered, curiously in Mulhouse in Alsace, at Tegernsee and in a monastery in Benediktbeuern, so that one can see, precisely from this appearance at Tegernsee, that these things actually moved from the south to the north.

We then very soon find that it is no longer only clergy who present these things, but that these things have been taken up by the people and become very dear to the people. The people were extremely fond of them. We see what has been carried out. We can still see this in one piece of writing that has been preserved. We learn from this writing that in the 15th century the entire story of Christ Jesus on earth was performed: from the wedding at Cana in Galilee to the resurrection. And everywhere we see that the most effective moments, the moments that were most effective for the external view, were emphasized in an extraordinarily dramatic and spiritual way, always the things that the people themselves experienced in these performances. And we may assume that in the 15th century, at the end of the 16th century and for a large part of the German-speaking areas, these folk plays were performed at Christmas time, at Easter time, at Whitsun, on Corpus Christi and at other festivals.

One of the Christmas plays is a “Paradeis” play, which was more closely associated with the Advent season; the other is a direct Christian shepherd play, which we are presenting here before you. As you will see from the introduction to the second play, it was performed throughout the Rhine region, and these plays were also performed on the road. Nevertheless, as Schröer found them, they came, as I said, to the Oberufer, to the Pressburg area – as they are also called Oberufer Christmas plays – for performance, east of Pressburg. So they were performed there during the Christmas season, even though they originated quite elsewhere. Originally they were performed where the Rhine flows through. They were taken along by a community that had migrated eastwards and settled east of the Danube in Banat and so on. There these plays were continued until well into the 19th century. In recent times, many such treasures of the people were lost due to the events of the time, which became quite different. But those who still saw the plays were deeply moved, not only by the play itself, but especially by the way in which these plays were introduced.

When the grape harvest was over, in the fall, the clergyman and a few others, the local teacher, gathered the young men they thought capable of staging such a Christmas play. For many weeks, the exercises, the preliminary exercises, were practiced. And from the way in which people had to prepare for the solemnity of these plays, one can see the spirit in which such things were undertaken. There lived, I might say, an inwardly cozy Christianity, an inwardly cozy Christianity. One sees it in the whole way of introducing such plays. There were definite rules according to which these plays were prepared for many weeks. The clergyman or the teacher gathered the boys together. As a rule, the female roles were also performed by boys; we cannot imitate that here. Our female members would protest too much against that, but in the Oberufer area, where Karl Julius Schröer discovered these things, it was definitely boys who also performed the female roles. These youths were given strict rules. Rules were made that are now, as we have been trying to revive these plays within our circles for years, for those of our honored listeners who wish to attend. These rules no longer have the same significance for our performers, but they show us how seriously these things were taken. For example, one of the rules was that those who were to participate in the play had to lead honorable lives for the many weeks, especially evening after evening for all those weeks, while they were going through these rehearsals. Well, it goes without saying that our people always lead honorable lives! So this rule has no further significance for us. Furthermore, no mischief was allowed. That should not be the rule among anthroposophists. However, there was also a regulation, a kind of punishment, which we are not introducing here simply because there would be too much protest against it, and if it were necessary to demand it, it would not be adhered to. It was a strict rule that for every memory lapse that occurred during the dress rehearsal and especially during the performances themselves, strict penalties had to be paid by the fellow player! As I said, we cannot introduce that. Because these penalties would never be paid by us.

But now there was one very strict regulation, ladies and gentlemen, that we cannot introduce at all. This strict regulation was that during the rehearsals, the rehearsers had to be strictly obedient to the clergyman or teacher, that is, to everyone who had to be a teacher. Well, you will understand that we can never introduce that among ourselves, of course. But you can see from these strict paragraphs how extraordinarily seriously this matter was taken. And it is this seriousness that strikes you when you delve into the whole way in which these plays were performed. Not sentimentally, often interspersed with a delightful sense of humor, these things were originally given by the clergy out of their sense of the people, but the people took hold of them and absorbed them completely in their spirit. So that, as they are presented here, they are thoroughly folksy and take us back to the feelings, the perceptions, the thoughts of a part of Christian society in the 16th century, perhaps still in the 15th century. All this comes to mind when we look at these plays.

We may imagine that over a large part of Central Europe, over the areas I mentioned earlier, from the 14th century into the following centuries – in some areas, as you can see, this only gradually disappeared in the 19th century – at all so-called holy times these plays, that is, the Christmas play, the Easter play, the Whitsun play, were performed. And the way in which these people have brought Christianity to life within them, how they present the Gospels to us in an extraordinarily vivid and popular way, shows that they have made a deep impact on the people. And we also consider it our task to draw attention to how the spiritual life has been preserved through the centuries, and how a part of the spiritual life of Central Europe has been preserved. Those who have seen how this spiritual life of Central Europe, insofar as it was folk life, gradually died out in the second half of the 19th century, will be able to feel a lot through this resurrection of old folk times. It is in this spirit, ladies and gentlemen, that we would like to present the Paradeis play to you today, followed by the Christ-Birth play.