Introductions for Traditional Christmas Plays

GA 274 — 24 December 1922, Dornach

Introduction

As we have done for many years, we would like to present a Christmas play to you this year, a folk play that takes us back to a dramatic-political time of the people, a play that has been cultivated long before the modern work of the stage and stage acting arose within Europe, in the newer Europe at all.

The plays that are performed here with us – the Adam and Eve play, which was performed yesterday¹ and will be performed again in the next few days, and today's play, the Christ-Birth-Play, and the play that will also be performed in the next few days, the Epiphany Play – I first became acquainted with these plays almost forty years ago through my long-dead friend and teacher, Schröer. Karl Julius Schröer was a personality who, in the second half of the 19th century, made a very special contribution to the study of those German dialects that belong to the German colonists who once – probably as early as the 16th century, but certainly in the 17th century – from areas that are are not so far from us here, from southern Germany and perhaps northern Switzerland, to the east; German colonists who settled in western Hungary, in northern and southern western Hungary, and then also in northern Hungary, south of the Carpathians, and in other areas of Hungary.

Karl Julius Schröer traveled to all of these areas and studied the various dialects in the most diverse ways. It was the case that the essence of the people was already in decline even back then; other ethnic groups took in these peoples and absorbed them. They are extraordinarily interesting and beautiful books, which appeared in the guise of a dictionary, but which are nevertheless extraordinarily interesting for anyone who wants to study them. These books are written in the language that, as I said, originated in the western German regions not far from us and was then carried eastward to the Danube and the Carpathians by colonists.

Karl Julius Schröer found these Christmas plays, which we are performing here, among these people in the 1850s; he got to know them there. These Christmas plays probably originated in the 16th century or even earlier among the people when they still lived more in western Germany, as far as the Rhine. We can still see this from certain sentences in the plays themselves. When they had to emigrate, they were taken with them by the people and were performed again and again every year in the colonists' land, in Hungary. The plays listed here were performed every year by the Haidbauern, a group of farmers who live near Bratislava, in what is now Czechoslovakia, and who have long preserved the original style of their ancient folk traditions. These plays were performed there every year in the dialect that these people brought with them from the west to the east.

These folk plays have been preserved in a more genuine form among these colonists than in other areas where similar plays were also performed. For those who have separated from the tribe of their folklore and have gone abroad have truly preserved such things as a sacred treasure. Among the poor people of Oberufer and the neighboring areas on the Hungarian Danube island of Schütt, for example, it was the case that in a particularly respected family, copies of these plays were passed down from father to son and from son to grandson. The one who was allowed to preserve these plays was usually also the one who had received the oral tradition of how to play them from his ancestors. He was the so-called teacher. He might gather, with an assistant, in the fall, after the grape harvest was over, those local boys whom he considered suitable to perform the plays. Only young men were used for this; a practice we cannot imitate. These young men were entrusted with something serious during this time. Above all, they had to lead an extraordinary, moral life and had to live peacefully with the other villagers during the whole period from the grape harvest to Advent. Only then were they considered worthy to actually participate in the plays that were performed from Advent to Epiphany.

In these plays, the people expressed what was right for their views, for their aesthetic enjoyment, I would say. But at the same time, these plays were - their subjects are taken from the most important parts of biblical history, the most important for the people - an expression of the people's deepest piety. That is why, for example, during the entire period in which the plays were practiced, no music was allowed to be performed in the village that was different from the music that belonged to the plays. And it has been handed down to us that when some traveling players came to a village, they had the village musicians play in their honor. They were quite indignant: Do they think we are comedians that this music offends us? They regarded the performance of such plays as something quite serious.

Then, when Advent and later Christmas time had arrived, these plays were performed in an inn. The people, however, actually carried their pious, truly pious minds, their holy mood, I would like to say, into this inn. These plays have a genuinely folksy character in that, firstly, they are part of the broad development of European theater. You can see this in the after-effects of the images, because these are always interspersed in the action of the plays. You can see how the theater tradition from ancient Greece has continued in these simple folk plays.

But there is something else that is much, much more important. It is this: that between the most tender, genuine scenes of devotion, there are always interposed scenes of the people engaged in robust fun. This is precisely what is peculiar about these pieces, juxtaposed as they are, for example, with the figure of the Virgin Mary, who is portrayed with extraordinary delicacy and marked with wonderfully pious devotion, and the somewhat clumsy Joseph. The scene where the shepherds exchange funny jokes with one another in the field, and so on, is not particularly delicately depicted in the scene where, for example, the shepherds sacrifice to the child Jesus, in addition to the touching, pious, holy scene. But this shows us how those whose names have not been preserved, who created these plays out of genuine popular sentiment, knew the true, honest piety of the people, which never became sentimental. It was honest precisely when it did not fall into dishonest sentimentality, when laughter and rough jokes could be tolerated at the same time. And in a beautiful way, those who created such plays knew how to shape the coarse folk fun into something that, I would say, wants to reach heaven in a tender, pious worship.

As I said, Karl Julius Schröer still saw these plays performed by the farmers of the Haiddörfer in the 1950s. It was at that time, especially around Christmas time, that I heard about these folk plays from him. He spoke with tremendous inner devotion, because he loved everything that was folksy, and there was something in his words of a reflection of the consecration that the farmers associated with these plays.

He then gave me the little book in which he had followed these plays in the 1960s, and I was able to have many a conversation with him afterwards, in which he carefully pointed out the way in which the dialect was used, the way in which the language was formed in a rural, artistic way, one could say. So we were able to talk about gestures, about the whole structure of the play. It was truly a revelation of genuine folk art; at the time, it really grew quite close to my heart. And when we were able to perform such a play within the Anthroposophical Society many years ago, it was my particular endeavor to always perform these plays at Christmas time, as far as it was possible with the means used, which were available for a stage, so that an image was given of what the people had in ancient times and what they still had in certain areas until recently.

Now these plays have been largely lost. We were allowed to perform the plays even during the war. Friends of ours were allowed to perform them in the military hospitals and to bring joy and satisfaction to the sick with these plays during the terrible war. We have also been performing them here in Dornach for years and will try to do so again this year, so that a real picture is created of the religious content and the folk-artistic striving at the same time.

The content of the performances, ladies and gentlemen, has been handed down from father to son and grandson, and as Karl Julius Schröer recorded it after hearing it, as he recorded it according to what the other performers told him. I only took the liberty of adding something that was not part of the tradition in one instance. You were able to see it yesterday in the Paradise play, and you will see it again when the Paradise play is performed, but I am firmly convinced that this piece was present, and it can only be a matter of of the spirit that lived in the folk at that time, so that a tradition that was already there at the time, that was already present, I would say, in black and white, and only got lost, has now become necessary on the stage. By staging these plays, we are trying to give a true picture of what has been revived in many areas as folklore in the 16th century from the 11th century and what has been most faithfully preserved by the poor people who were then in the process of losing their folklore, a folklore that Karl Julius Schröer wanted to preserve by recording it in dictionaries, books of spoken drama, and by passing it on to us in these Christmas plays.

Many of these Christmas plays have also been collected by others, but it seems to me that these plays of the Haidbauern are the ones in which what once existed in the late Middle Ages has been preserved most purely.