Introductions for Traditional Christmas Plays

GA 274 — 6 January 1924, Dornach

Introduction

We will take the liberty of presenting to you here once again this year one of the Christmas plays that come from ancient German folklore. Perhaps I may start with something personal. I myself got to know these Christmas plays – the Paradeis-Spiel and the Christ-Geburt-Spiel, which are not being performed in public this year, and the Dreikönig-Spiel, which is being performed today – about forty years ago, I can say. At that time, I got to know these plays from my old friend and teacher, Karl Julius Schröer. Karl Julius Schröer, who was a university professor in Vienna at the time he named these plays to me, was a professor in Pressburg, which today belongs to Czechoslovakia, but in the mid-19th century, in the 1840s and 1850s, was in a German colony in Hungary, western Hungary. If you go just a little further east along the Danube from Prefburg towards Budapest, you come to the so-called Oberufer region. There was a German colony in this Oberufer region. In my youth, it was very German, as were the German colonies in Hungary in general before the Magyarization: in the Spiš region, the Transylvanian Saxons, in the Banat and so on. Now, when Schröer was a professor in Preßburg, he once heard that interesting folk Christmas plays were being performed out in Oberufer by the descendants of those German colonists who had moved from the west towards Hungary to settle there, from areas that were probably located north of the Rhine in southern Germany, directly bordering Switzerland, north of the Rhine and as far as Alsace. And that seems to be the origin of these Christmas plays.

It is the case – and we can still see this today – that these Christmas plays were really still being performed in the 13th and 14th centuries across the Rhine, perhaps later in northern Switzerland, at most in Brienz. The people then moved eastward, took these Christmas plays with them as an expensive spiritual heirloom with a deep piety and then held it in extremely high regard. And throughout the 16th, 17th, and 18th centuries, they were then performed around Christmas and Epiphany in these villages by the so-called Haidbauern.

It was a great annual experience of Christian piety in these German areas of Hungary. Because these Christmas plays had precisely this fate, I would like to say, they remained completely unadulterated until very recently. Because, you see, Christmas plays originated everywhere in older times, before and after the Reformation, and were gladly performed. But in later times, they were improved by so-called intelligent people, which is what it is called, that is, their popularity was thoroughly expelled from them. And the improvements that the intelligentsia wanted to make have become a fundamental deterioration, so that these folk plays could only be found in a really poor state in the more westernized areas.

But down there, these Christmas plays meant nothing to the intelligentsia. When Karl Julius Schröer came to the villages in the early 1850s, the schoolteachers and the village notary found that these plays were neglected. The “intelligent people” saw it as useless stuff. And so these Christmas plays have remained completely unadulterated because no one has improved them, that is, in reality, made them worse. They have remained that way throughout the centuries, and that is how Karl Julius Schröer found them in the mid-19th century. They were no longer performed every year, but only when it was thought that the necessary personnel were available. When the grape harvest was over in October, the village dignitaries would gather at their regular table and say: “This year we have young men again – because only young men were allowed to play – to be able to perform these Christmas plays, and it does our people good to get a little piety back in their veins. Now we want to do it again this year.

And there was always one among them – it was always a respected family among the farmers of the village – who was the owner of the “manuscript”. They were not printed, these Christmas plays. He had received it from his father and his father before him, and so on. In this way they had been preserved through the centuries. And when the time came after the grape harvest, the person in possession of the manuscript would gather the boys around him and be their teacher, preparing the performances for the Advent and Christmas season, around the time of the Epiphany. And these performances were really carried out with the utmost seriousness. There were strict rules for the boys who were to take part. For example, these boys were not allowed to get drunk during the entire period in which they were supposed to prepare these plays. Anyone who knows these areas – I lived there for a long time – knows that it was a great, an extraordinarily great deprivation for these young boys if they were not allowed to get drunk from the grape harvest until Epiphany; nor to fight, for example. Who knows what else happened in those days when, for example, a mayor or even a district councilor was elected – that was one of the county's trusted officials – what it all meant in these areas: the boys were not allowed to fight on Sundays! So they had to lead a very pious life. It was really genuine piety, popular piety. Furthermore, it was prescribed that they not go to the Dirndl at any time. And no secular music was allowed to be performed in the villages where they traveled throughout the weeks. All the rules that we have here with our players, of course, we cannot enforce, that is, we can enforce those mentioned so far; but not the others. If, for example, someone had forgotten something they had learned, they had to pay a fine. We couldn't do that at our place. Nor could we enforce the rule that no one could be late and so on. So all these things were handled in the strictest sense there. It was really something extraordinarily disciplining for the boys of the place.

The Christmas plays themselves – when the time came, they were celebrated in such a way that you could say: real, genuine popular Christian piety mixed with what was there as folk customs, not sentimentality. There was real popular piety in it: honest piety, not some kind of hypocritical piety, but honest piety, which is also mixed with a certain earthiness. That was precisely the sincere piety of old. It had been preserved until the 19th century.

Then, as the performances approached, some things came up that we can't imitate in the same way, because I don't know how it would be received if we did imitate them, for example. The devil had to go around the whole village with his long tail when the performance was approaching and blow his horn everywhere and tell people that they had to come to the Christmas play now. I don't know how it would be received; it might well be that people would like it! And we can't imitate that here either, with the devil jumping on every cart and doing his mischief when the performance is approaching and so on. When the people had gathered in the inn, sitting on the benches all around, the performance was given in the middle of the inn hall. Something else that we cannot imitate here was that people paid only two kreutzers, that is four rappen, as an entrance fee. That was an extraordinarily high entrance fee for that time; children paid half. When Karl Julius Schröer found these plays, everything was still preserved exactly as it had been in the mid-19th century, including the customs from the 16th century, when the people moved there and brought these Christmas plays with them.

And it was back then, forty years ago, that I developed this endless love for these wonderful Christmas plays, and I truly believe that something beautiful can be preserved if you play them again where you have the opportunity. Because there, in the former German areas of Hungary, they have not been performed for a long time. The last family that had them has probably died out, and they have not been renewed, so what we have done for these plays, which we started doing before the war, is actually a real renewal of the matter. There is a piece of German folklore in these plays. Something has really been preserved that used to be very honored and appreciated among the people.

And here I believe that this still has its special value in that the Swiss remember, perhaps still in northern Switzerland, but most certainly when they have turned their eyes across the Rhine, that these plays were performed everywhere there in the 14th, 15th, and 16th centuries. So it is here in particular that we can connect very good memories with it, and that is why we believe that it is also quite good to bring these plays here for demonstration. With this in mind, we ask for your attention for these plays.

Of course, we have to work with completely new means, with the means that a contemporary stage operation, as far as we have it here, provides, but within that we try to give the form, with the dialect and everything, as it was performed by the people. So we may call them: Christmas plays from ancient folklore.

This is the last speech by Rudolf Steiner about the Oberufer Christmas Plays. In the fall of the same year, he became seriously ill and died on March 30, 1925.