Introductions for Traditional Christmas Plays

GA 274 — 31 December 1923, Dornach

Introduction

during the Christmas Conference

We will now take the liberty of presenting the Epiphany or Herod play to you. In the past few days, we have presented the Paradise Play and the Nativity Play to you, and today we bring you the Epiphany Play. I have already spoken about the history, that is, the origin of the plays, as well as how they are rehearsed. I will just note today that the Paradeis play was usually performed in the way I have described to you, during the Advent season, the Christ-Birth play in the actual Christmas season and this Epiphany play around the time of the Epiphany, on January 6, around this day. One can clearly perceive how the style of the two plays, the Christmas play and also the Paradeis play and this Epiphany play, differ from one another. In the Christmas play, one sees quite clearly that one is dealing with something that comes directly from the folk mind. One must imagine something like the following.

There were, especially before the Reformation in Central Europe, but after the Reformation in the various German colonies, one of which is the one in Oberufer, where these plays originated, the Moravian Church, which had a Christian community life as its mission and wanted to keep alive the religious sentiment present in the Gospel of Luke. And such brotherhoods were very widespread. It was a kind of communal life that sought religious edification in the shared feelings of those who came together in such a brotherhood. It was in these circles that plays such as this Christmas play, the Christ-Birth-Play, came into being. On the other hand, the play that we will see today was combined with the Christmas play only through an incomprehensible misunderstanding on the part of my old friend and teacher Karl Julius Schröer, I believe, and the two plays are not at all compatible in terms of style. This Epiphany play emerged from the clergy, which set itself the task of giving something to the people. You can see it everywhere in the play that it comes from the inspiration of the clergy, albeit from clergymen who have been intimately involved with folklore, who have completely immersed themselves in folklore, and who wanted to represent the interests of the church through such plays in folklore.

Therefore, a certain primitive nature can be seen in the Christmas play, genuine piety combined with rural coarseness in honor of a religious folk style. By contrast, in this play, which comes before our souls today, we find solemnity. Solemnity that arises from the interest of the church. This Epiphany play has a thoroughly suggestive power, both in terms of the composition, which is extraordinarily dramatic, and in terms of the individual elements that we notice in it.

The Paradeis play and the Christ-Birth play were always on my mind during my conversations with Karl Julius Schröer at the end of the 1880s. He had seen the plays performed by the farmers himself, knew how to tell the story in an extraordinarily vivid way, and even then I was able to develop a clear idea of the ancient folklore contained in these plays. But I myself saw the basis for this Epiphany play during my childhood. In Catholic Christian areas, you could see these groups everywhere from New Year's towards Epiphany, with the three magi, the three kings, forming the center with the star. They went from house to house in the villages and performed the play together; not dramatically. But what you have here with us as choral songs, they sometimes performed with some dramatic things in front of the doors and in the houses they visited when there was space. But you could see that in this wandering of the Magi there was something that came from the church. And so the whole Epiphany play actually came from the church, and that is why it has its special suggestive power in the individual parts. It is therefore quite incorrect to lump these two plays with their completely different styles together and to perform them as if they belonged together, one after the other. This can only have happened because these plays had perhaps been combined before, and Karl Julius Schröer found them combined in Malatitsch's work. But anyone who can follow the whole development of the plays knows that these two things do not belong together at all, but even have completely different origins.

But again, when you look at the whole complex of this Christmas play, you can see the great value placed on it by the Moravian Brethren community, which had moved from what is now Czechoslovakia to the east - they were, after all, the most excellent most ardent supporters of the Christmas play. You can see what is meant by the whole complex, on the one hand, in the folk tradition of honest, genuine piety; procuration, I would say, of the church from the other side with the Epiphany play. In this way, people have sought to pave the way to people's hearts; they have also found it. And it is true that one comes into quite interesting areas of religious life when one considers the diverse religious life before the Reformation. Of course, what was perhaps already influenced by the Reformation was added later, but historically one should at least recall how an honest, inward mood prevailed at the time when the Reformation was opposed. The clergy had to take such measures to win the people's hearts.

Some of what is presented in the story today is based on misunderstanding. For example, it is extremely interesting to get to know Bible translations, if not of the whole Bible, then of large parts of the Old or New Testament in those older, pre-Lutheran times. The language is much more original, much more heartfelt than the language that was supposedly created for the Bible by Luther. And it is actually just an historical legend when it is repeatedly told that Luther first translated the Bible into German. It is not even the case that he practiced the best art of translation, but rather that what existed earlier is actually better. And from the same mood that gave rise to such Bible translations in religious communities in the pre-Reformation period, such plays also emerged. So we are vividly transported into a piece of ancient folk culture through these plays.

We have to do this with modern means, but we try to perform them in the way they were performed back then. I have said before: certain things we cannot repeat. Perhaps an attempt could be made to send the devil around with the cow horn in Arlesheim and Dornach. He would have to blow into each window to make it clear to the people – that is the custom – that they should come to the Christmas play today! But I don't know whether that would make us more popular or even less popular.

There are some other things we can't imitate either. For example, these plays were only performed by boys. It wouldn't work for us to have them performed only by boys either. Then we can't repeat this in particular, that penalties have to be paid if someone doesn't remember something the teacher had rehearsed in the right way. Yes, there would be a revolution among the players. Then we also cannot introduce the fact that we would take two rappen as an entrance fee, or four rappen were given and taken as an entrance fee at that time. Children paid half. We cannot imitate that either. I don't know, but it is reported that defective clothes and so on were repaired for the next performance from the money received in this way. Well, the audience was usually not as large as this one. So we also see into times when things were even cheaper.

But apart from all this, we would like to try to present a real piece of old folklore to your soul with this play, this Epiphany or Herod play, even though we can only do so by transposing it into modern circumstances, so to speak, but shaping these modern circumstances in such a way that the old style is preserved. And so we would like to present this Epiphany play to you in particular.