Introductions for Traditional Christmas Plays

GA 274 — 27 December 1923, Dornach

Introduction

during the Christmas Conference

Today we will take the liberty of presenting the third of the folk plays that were performed everywhere around Christmas time in the older folk traditions in the areas of which I have already spoken.

The first play was the Paradeis play, which always began on the first Sunday of Advent and was then performed throughout the Advent season. The second was the actual Christmas play, which was performed roughly from the last Sunday of Advent until the end of January. This third play was performed around the time of the Feast of the Epiphany. I have already spoken about the history of these plays. Likewise, I have taken the liberty of mentioning some of the ways in which the plays were performed. I will only briefly explain the spirit in which this was done, with particular reference to this Epiphany or Herod play.

Here, too, you will see how contemplative piety, in this case even extraordinarily solemn piety, is compatible with a certain coarseness. This is the fundamental character of these plays and it is all the more interesting because there is actually a radical difference between the Christmas play, which we also presented the day before yesterday, and this Epiphany play. It has happened in some incomprehensible way that my dear old friend and teacher, Karl Julius Schröer, printed these two plays – the Christmas play and the Epiphany play – mixed up. I admit that perhaps some of the merging of the two pieces has occurred somehow through inaccurate transmission. But originally the two plays — the actual Christmas play and the Epiphany play — are quite different from each other in terms of their origin.

I myself still have some of this Epiphany play, which indicates the way it was received where it was shown. I discussed the other plays at length with the man who discovered them, Karl Julius Schröer, at the beginning of the 1880s, and they have become very present to me as a result. More and more of the details of these plays then emerged. But this play about Herod could actually be seen in all areas of German-speaking Austria around New Year's time until the time of the Three Kings and beyond. You could see people dressed as the Three Kings – which is what the story was reduced to – Caspar, Melchior and Balthasar, wandering around with a star and singing very similar songs to the ones that appear here.

Now I would like to point out that the structure of these plays is actually reminiscent of the oldest drama. We have the common choruses in them everywhere, as they were called in the vernacular: the companions' songs, which actually represent the same thing – only in a late-vernacular way – as the Greek chorus represents. And then we have grown out of these songs, which would also be performed on their own, the actual dramatic dialogue and so on.

Now, when I spoke of a radical difference between the two pieces, this can be seen not only in the basic character, but also in the origin. Everything that is the style of the Christmas play, the play about the birth of Christ, points to the fact that the actual cultivation of these plays about the birth of Christ and probably also of the Paradise Play originated with the Brethren communities, which before the 16th century were much more numerous in Europe than one would think today. Everywhere there were such Christian brotherhoods, which had particularly cultivated that which is also reflected in these dramatic representations, which is based on the basic style of the Gospel of Luke. You will find the keynote of the Gospel of Luke in the Christmas play, so to speak. In contrast, this Epiphany play, which you see today, originated in the churches, from church people, albeit church people who were completely immersed in folklore. And this Epiphany play is truly Catholic, while the Christ Birth play comes from, I would say, the forerunners of Protestantism.

Where these plays were performed in German Hungary, Catholics, Protestants and everything were mixed up; they were taken quite interdenominationally. But originally the Christmas plays emerged from the brotherhoods, in which there were also wonderful Bible translations in a very magnificent German. It would give me great pleasure to present some pieces of these older German, truly wonderful Bible translations, because they show very clearly what a historical legend it is, an incredible historical legend, when it is handed down everywhere that Luther translated the Bible into German for the first time and invented the language for it, which is not true at all, because the older translations, which are just not known, are much more beautiful and much more poignant, even matching the original text much better than the Lutheran translation. So these plays originally also emerged from these brotherhoods. In contrast, this Epiphany play clearly has a Catholic character, originating from medieval clerics who had settled into the folk tradition and who also wanted to promote the interests of the church.

In contrast, the Christmas play has above all the character of the graceful, while this Herod play has in part the character of the suggestive. I would like to say that it would be quite disturbing at the Christmas play if you had incense with you; that would not be folksy. On the other hand, it would do nothing at all to this Epiphany play, which was performed by the clergy – you will feel it – even if the smell of incense were to be noticed somehow, because there is an extraordinary amount of suggestion in it that is to be brought out during the performance. But of course the church of earlier times also knew very well how to appeal to the people. Therefore, there is also genuine folklore, beautiful, true, full solemnity combined with folksy coarseness, and above all something extraordinarily deep that speaks to the hearts of the people. Therefore, this Epiphany play, Herod play, can be seen as a beautiful piece of medieval history, which has come down to the 19th century in its purest and most unadulterated form in those areas where the German colonists were among foreign peoples, where nothing of the so-called intelligence and newer improvement on the part of the clergy has mixed in , so that in the Christmas play, as in the Herod play, we have something that comes from the pre-Reformation period in both the folk-artistic dramatic style and the style of folk piety, and that brings the history of Christianity in Central Europe in the pre-Reformation period very beautifully to life.

And so that this may happen, which must be the desire of many people, we would like to perform these Christmas plays for you.