Turn of century

The turn of the century becomes for Oberammergau in the relation of an advancement of the text the starting point of a stagnation, more or less lasting till this day, although this text already does not seem to be preserved-worth at that time. The government of Upper Bavaria demands for the passion in 1890 a reform of the text to lift „the old cultural-historical play on the height of the time and to preserve from a possible fiasco”[1] In 1886 the government appoints a board, lead by Dr. Johann N. Sepps PH (who wrote an important review in 1850[2]) to scrutinize the Oberammergauer passion plays. This board found the text bad. So the government suggested to instruct ‚Geier Wally ‘ – author Wilhelmine von Hillern or ecclesiastical council Carl Ettmayer with treatments what is likewise rejected by the Oberammergauern. Instead of a revised version the mutilation of the version of priest Daisenberger begins already in 1890. In 1900 the municipality of Oberammergau region publishes for the first time a ‚Offizielles libretto‘ which the entire text contain. Indeed, not the original text, but the just topical play text. This leads to the fact that the ‚Daisenberger text defended over and over again‘ is unknown itself to most Oberammergauern till this day.[3] Although there are, as already mentioned, voices which demand an advancement of the text, the voices which suggest ‚preserve!‘ become always louder. Released by the first reviews, in particular in 1850 from Martin Deutinger and Eduard Devrient who sees a „valuable relic of early Germany ” and „Hort of the German national mind ”[4] in the passion plays upper bunting region becomes the myth. The central idea of this myth is the „erfolgreichen struggle around preservation of the own, an identity saved against all menaces. [5] ” in 1840/50 encloses a choice of criticism through upper bunting region already 500 sides [6. Till 1900 the number of the newspaper reports has grown in the uncountable. In a bibliography [7] with regard to upper bunting region only 150 titles are performed about 1900. Beside different forms of documentations also some fictional stories. Under it also the best-seller ‚Der man God boobs of upper bunting region ‘ from Ludwig Ganghofer and from the church on the index sedately ‚Am cross. A passion novel from upper bunting region ‘ from after upper bunting region there moved Hermine of Hillern. In Paris a story ”Le Judas d’Oberammergau ” from Otto de Schachings appears in 1900 to ‚Den artistic ones and the customs of the fathers to loyal Oberammergauern ‘ Ludwig II let in the colossal crucifixion group chisel which he gives to the Oberammergauern in 1876, in appreciation of the special image given to him of the passion plays in 1871. With it he chisels the leitmotiv which haunts in many heads with regard to upper bunting region in stone. The turn of the century is a time of the social and political layout, everything seems threatened. Upper bunting region becomes the symbol of the fight against the setting of the old order. Accordingly the company list of the passion plays of 1900 and 1910 reads. In the eve of the First World War the oil magnate John Davidson Rockefeller, which architect August Eiffel, count Zeppelin, Ernst von Possart, director of the Munich court stage, which opera singer Adelina Patti, the conductor Felix Mottl and an immense number assembles in upper bunting region once again almost all representatives of the European nobility, but also in bishops from all over the world. Upper bunting region his attraction exercises [8] not only on ‚Who‘s who ‘. Especially for the Americans upper bunting region became a ‚Neben myth ‘, as a substitute to her breaking self-image from ”really new world in which one can throw off the trammels of the Old and rise to one’s full stature of an one ” [9] the dream of moral superiority of America it is destroyed by around reaching corruption in the public life more and more. Upper bunting region appears towards the healthy mountain village. The place in request ”of humanly perfection ... the possibility of life lived with maximum wiseness, happiness, and intensity. ” [10] ”Oberammergau thus came to represent in a certain way the idea of a divinely granted second chance for the humanly race. ” [11] in the course of the worldwide Vereinnahmung of upper bunting region the most different stereotypes are produced. A very typical one is the ‚einfache rural people ‘ from upper bunting region who have created the passion play from the religious strength of the public feeling. Besides, it is overlooked the fact with pleasure that the Oberammergauer live by the majority bourgeois, throw down quite only because the grounds in the prealpine area not enough yield and upper bunting region is a boob's village already since hundreds of years traditionally. The fact that the passion plays are no play of the people, but from the even in particular known authors who have exceedingly been formed for her time is denied partially absolutely. [12] Also the longing for one is reflected in this lost paradise. „Die tradition in very first line lends value and character to the Oberammergauer play. At the moment, because hievon becomes come away, geräth the whole in extreme danger. ” [13], a reviewer thinks in 1900 and grasps with it probably the mood with regard to upper bunting region, but also with regard to the situation in completely Germany.