Introductions for Traditional Christmas Plays

GA 274 — 29 December 1923, Dornach

Introduction

during the Christmas Conference

I have already told you something of the history of these Christmas plays on the occasion of the performance of the Paradise Play, so that today I would just like to speak about how these plays were actually performed in the German-Hungarian colonies where Karl Julius Schröer found them. So I will just briefly repeat that these Christmas plays, plays that had migrated from their Central European homeland to the east as early as the late 15th or early 16th century, were performed in the most diverse areas of Hungary well into the 19th century. Karl Julius Schröer later found them in the vicinity of Pressburg, in the Oberufer region in the Malatitsch family. The performance of these plays, regarded as an expensive inheritance that was always passed down in a family, was usually discussed after the grape harvest, i.e. in mid to late October, to determine whether the plays should be performed. This was necessary for the simple reason that the necessary mood was not present in people every year, for one reason or another, and especially because the necessary performers were not always available. But at certain times, after the grape harvest, people would gather at their regular table and say: Now our boys would need a certain new embellishment for their piety, and we could perform these plays again this year. And if the person in the family who kept these plays agreed to do so, they would look around to see which boys in the village would be suitable to perform them that year.

These plays were now rehearsed in a very strict way. You see, the whole performance was regarded as something that was connected with the most intimate religious life, with the most intimate piety of the people in those areas. And so there were strict rules for those who were to play during the preparation period. For example, they were not allowed to get drunk during this time, which meant a lot in these areas; they were not allowed to go to the Dirndl; they were not allowed to do many other things that they otherwise liked to do. The whole thing was seen as something that belonged to a solemn time, and as something to which one must bring a solemn mood. For example, in certain seasons of the year, not a Sunday went by without music in the inns in those villages where the Haidbauern or similar plays were performed. Now these people, who performed the folk plays, came to a village where, in their honor, a not-so-bad music was performed during Advent when they came. They said, “Do you think we are comedians that music is performed in our honor?” So all the entertainment had to stop during the performance. There were also other strict rules that we cannot possibly imitate. For example, those who performed in the plays had to obey their teachers strictly. Of course, we cannot imitate that. Furthermore, if any of the rehearsed gestures or attitudes were forgotten, a penalty had to be paid. Of course, we can't do that here either. The entrance fee was two kreutzers, children paid half. Two kreutzers is four centimes. We can't do that either. We also cannot imitate the fact that invitations to the plays were issued in such a way that the devil would walk around the village half an hour or an hour before the performance began with his tail—imagine! —and a cow horn, blowing it into the windows everywhere, and telling people that they had to come, that it was the custom. Then he also jumped up on carts and drove his mischief. We could try it, maybe the sympathy for us would not decrease, but even increase a little. But so far we still believed that we should actually leave such things out.

So this was rehearsed. And when the Advent season approached, the Paradeis play was performed, as we did it here a few days ago, at Christmas time the Christ-Birth play and at the time of the Feast of the Epiphany the Herod or Three Kings play, which you will see or have already seen.

We can see from the outward structure of these plays what the nature of this particular rural piety was, which has been so miraculously preserved. This piety displays its honest, inner truth by avoiding all sentimentality and instead having a very matter-of-fact coarseness. This earthy nature, this indulging in earthy jokes, is something that was absolutely typical of folk plays, despite the fact that these people had full, honest piety. That is what is particularly characteristic. Therefore, you will see scenes of great solemnity here, and scenes that show the massive earthiness of the peasantry, of the folk.

From a remark such as that made by the leader of the singers, where he points out that the Rhine is nearby, you can see that the things from the area north of the Rhine have migrated here to the east, and they have indeed retained the language. Karl Julius Schröer wrote them down by ear, based on the people who knew these plays by heart and had performed them often in the 1840s and 1850s. In doing so, he made a number of mistakes. And these mistakes, which occurred in Schröer's print, made it impossible for me to fulfill the request to reprint a text of these plays, because it would truly take many weeks to restore the original, the genuine, honest version. Of course, one cannot consent to producing a sloppy text. You see, some things only come to light after a very, very long time. The printed text was thoroughly corrupted; for example, at this point it should read:

Adam, accept the living breath
you received with the date....

namely: with this date. That is: from this day on you receive the living breath.

If you want to bring these things to the stage today, you have to be conscientious about creating such texts. And so, my dear friends, we will endeavor to give you a picture of the way such things were originally performed, how genuine piety was sought in folklore, even though we have to use modern means. I will explain some of this at the next performance of the Herod play. It has also emerged from an artistic element that has arisen precisely in Central Europe, as a folk performance of ancient dramatic art.

You will see how there are choruses, and how the dialogue and the other dramatic elements grow out of the choruses in a beautiful way. It is really so, when you compare this primitive art with the Greek tragedies, you see how there is a very beautiful continuation in these folk areas. And the contact that exists with the whole audience, that you actually feel at one with the audience as a fellow player, is particularly evident in this greeting of everything in and outside the hall, on and off the earth. It brought something to light, to feel something of being at home. That is what gives these plays their special artistic appeal.

We would like to use it to present you with a vivid piece of history that has basically been lost outside our circles for the most part.