Download Press kit - Passion Play

Press kit
1.
The adaptation of the Passion Play text for the 2010 season
2.
Working on the Living Pictures for the 2010 Passion Play
3.
The stage sets of the 2010 Passion Play
4.
The music accompanying the Passion Play
5.
The 2010 Passion Play at a glance – dates and facts
6.
Chronicle 1633 - 2010
7.
Biographies of the production team
8.
The cast
9.
Brief biographies of players and soloists
10. Picture preview
11. Contact
1. The adaptation of the Passion Play text for the 2010 season
Up to the mid-19th cent., different version of the text of the Passion Play existed in Oberammergau, including the
outstanding 9000 verses of the "Passio nova" written by the Benedictine monk Ferdinand Rosner in 1750. In
1810, Otmar Weiss, also a monk from the Ettal monastery, wrote a prose version; in its 1860 adaptation by the
parish priest Josef Alois Daisenberger, it forms the basis of the play to this day.
The Passion Play was traditionally entitled "The Great Sacrifice at Calvary". Its main focus was on depicting the
Saviour's suffering and death. This reduction to the maltreated, beaten and suffering Jesus, to his flagellation and
condemnation, to his death on the cross seemed to us like an abridgement of the great story.
The life of Jesus cannot be reduced merely to his suffering. First and foremost, our concern must be for the
teachings of that young man from Nazareth, on his challenge to us which in the Greek of St. Matthew's Gospel
reads "Metanoeite", translated as "Rethink!". Jesus expressed this demand of a radical rethink most explicitly in
his Sermon on the Mount. It shows clearly that there is no higher commandment in his eyes than that of love,
love for God and for human beings.
What is it, though, that makes his words so special? Have we not heard them a thousand times already? Have
they not become just empty phrases? Jesus, the young Jew, spoke of an Israel ruled by Rome, in a world marked
by social contrasts, founded on suppression and exploitation. The ruling Sadducee elite co-operated with the
Romans who quashed any emerging unrest immediately. As we know today, Pontius Pilate ordered the crucifixion
of thousands of insurgents, and the main concern of the Sadducee priests was their own prestige and standing;
anyone who opposed them was suppressed through religious disciplinary action. The people longed for liberation
from Roman rule, from the heavy burden of taxation and slavery, they longed for a king, a messiah on the Jewish
throne.
In this world, in this setting, Jesus of Nazareth spoke of the unconditional commandment of loving thy neighbour,
a commandment that included everyone, that everyone was entitled to: beggar, slave, prostitute, but also the
hated Roman soldier and his master Pontius Pilate who had ordered the butchery of thousands of Jews. Jesus
proclaimed a new understanding of humanity. In his view, all humans are equal in the eyes of God; our life is
going to be measured by our behaviour and attitude to our fellow human beings. He addresses the priests
according to ancient Jewish tradition: "Hear O Israel! The LORD our God, the LORD is one. There is one God, and
there is no other but He. And to love him with all the heart, and with all the understanding, and with all the soul,
and with all the strength, and to love his neighbour as himself, is more than all whole burnt offerings and
sacrifices. There is no other commandment greater than this." Jesus' call for a radical rethink, his "Metanoite!" is
the order to bring an end to hate and counterhate, violence and counterviolence. This message is as valid today.
These were our guiding thoughts in the adaptation of the Passion Play text for 2010. We want to show a Jesus
prepared to stand up with incredible single-mindedness for his faith in his God, who is also the God of Abraham,
the God of Isaac and the God of Jacob, that is: the God of the Jews. It is this faith and the rigorous singlemindedness with which he lives it that ultimately bring him to the cross.
A further important aspect of the adaptation which has been the concern of all editors from the 1950s onwards
has been the problem of anti-Judaism, which runs as an ominous thread through the entire history of Europe and
of Christianity and in whose dissemination these Passion Plays also played their part. Banishing it from the play
was and is our obligation.
For the many long hours spent on adapting the text for this year's play, we would like to express our heartfelt
thanks to Professor Ludwig Moedl, our theological advisor, and to Rabbis James Rudin, Noam Marans and Eric
Greenberg, representatives of the American Jewish Committee and the Anti-Defamation League.
Christian Stückl and Otto Huber
Directors of the 2010 Passion Play
2. Working on the Living Pictures for the 2010 Passion Play 2010
From Ferdinand Rosner's "Passio nova" of 1750 onwards, the Oberammergau Passion Play always included Living
Pictures (‘Tableaux vivants’). They keep alive an artistic device which enjoyed particular popularity in the 18th
and 19 cent.: scenes from paintings, sculptures, but also literary works are represented - like a frozen picture - by
actors keeping absolutely motionless.
In content, the Oberammergau Living Pictures depict scenes from the Old Testament. Such flashbacks also have
a long tradition. The method of bestowing meaning to the story of Jesus by looking for an analogy in early
Hebrew scriptures is already used in the Gospels. For example, according to John 3, 14, Jesus himself uses the
image of the brazen serpent lifted up by Moses in order to explain that in future his cross was to be looked at as
a sign of salvation.
12 such pictures (a 13th picture depicting the loss of paradise serves as an introductory prelude) are included in
the 2010 Oberammergau Passion. The main focus is on scenes from the stories of Moses.
The scene of Jesus attempting to win followers in Jerusalem is preceded by the Living Picture of Moses
descending from Mount Sinai with the Tablets of Law, inviting the dancers around the idol of the Golden Calf:
“Whoever is on the LORD’s side—come to me!”
The Last Supper is preceded by the dramatic scene of eating the Passover lamb immediately prior to the exodus
from Egypt, and "Jesus on the Mount of Olives" by the scene of Moses, ordered by the voice from the burning
bush to go Pharaoh, protesting against a mission which overtaxed his strength.
Together with these two images, a further Moses tableau was also only included in 2000: Moses rejection by
Pharaoh is shown as an analogy to the blindness of Pontius Pilate in dealing with a king whose realm is not of this
world.
Moses lifting the brazen serpent as an antitype of the crucifixion is once again included in the Living Pictures, as it
has been ever since 1750; the contemporary fresco in the Oberammergau parish church gives an idea of how this
scene was originally staged in the play.
In addition to Moses, other characters depicted in the Living Pictures include Daniel in the lion's den, the sorely
afflicted Job, Joseph in Egypt, and Isaac led by Abraham to be sacrificed on Mount Moriah.
New for the 2010 Passion Play is Living Picture "The Salvation of the Israelites in the Red Sea", placed between
the introductory scene of Jesus' entry into Jerusalem and the second scene "In Bethania". Once again, there is a
comparison with Moses. The essential point of comparison is the trust in God as shown by Moses, when the
Israelites, pursued by Pharaoh's army and hindered in their flight by the Red Sea, seem to be lost. This scene,
which is amongst the best-known images from the Bible, derives its particular dignity from the reference to the
most ancient parts of the Hebrew bible and the fact that it is remembered each year by Jewish believers in the
celebration of Passover and by Christians in the Easter Vigil.
Formerly, these Living Pictures were often the subject of controversy in the Jewish-Christian dialogue, because
typological thinking too often ran the risk of devaluing Jewish experiences of faith as a mere forerunners of the
‘true faith’ or by their appropriation without due reflection. In our adaptations of the Living Pictures and the
associated prologues and songs, we have made every attempt to counteract such risks. On the contrary, we
would like to see the comparisons and analogies in experiences of faith as a bridge between Judaism and
Christianity.
In 1750, Rosner referred to the Living Pictures as ‘reflections’. Indeed, quite apart from the structure that they
bring to the play, they introduce an element meditation in their interruptions of the dramatic scenes of the
Passion, particularly as they are presented with music, i.e. choral songs or solo arias. These miniature oratorios
taken together add up to almost one third of the Passion Play. From a cultural-historical perspective, the
Oberammergau Passion Play represents the ecumenical fusion of two different lines of tradition: the dramatic
play of Jesus' passion - which started in the 12th cent, but in the modern age continued only in the RomanCatholic environment - and the Protestant passion oratorio, which elevates events to an internal emotional level,
with Johann Sebastian Bach as one of its main exponents.
Otto Huber
Deputy Director
3. The stage sets of the 2010 Passion Play 2010
General
Since 1930, the stone walls of the Passion Play Theatre in their blocky construction determine the somewhat
monumental and cold appearance of the stage. My intention for the 2010 Passion Play is to bestow a more
intimate and artistic appearance to the wide proscenium and the wings, i.e. the open-air sections of the
Oberammergau stage. The proscenium floor, hitherto made up of large square flagstones, has been covered with
screed and fashioned as a homogeneous blue space. The previously bare walls of the side alley - now adorned
with olive trees - are reminiscent of the walls of Jerusalem.
The entire 70 m wide stage is taken as a single large space; its character remains largely unchanged, despite the
changing backdrops of the central change.
Acting scenes
For the acting scenes, the scenery backdrops of the central stage are designed as extensions of the existing
architecture, showing a range of different views of the temple.
Same as the floor and the rear walls of the side stages and alleys, all backdrops of the central stage are
predominantly blue. The entire stage thus becomes more unified and a single space.
This approach also avoids illustration, while creating an impression of spaciousness commensurate with the
stage.
The localisation of the action is now created by the play itself. Pontius Pilate, for example, is no longer confined
to acting in front of the left wing, known as the House of Pilate, but can act across the entire space. Acting on
the stage can now be more expansive and variable, because the stage in its entirety is defined as a public space
in Jerusalem.
Living Pictures
While the acting scenes tell the story of the last five days in the life of Jesus, living pictures (‘tableaux vivants’)
are shown, depicting - in addition to a prelude - 12 Old Testament scenes in analogy to the events of the Passion.
In the new production, they appear in vivid colours, set against the monochrome colouring of the acting scenes.
In 2010, the Living Pictures will now longer depict the Old Testament scenes historically-realistically as they
happened. Many of these pictures already point to another world, a heavenly counterworld; events are thus
already depicted from a perspective of faith.
This ‘post-Easter’ perspective is connected to a depiction in the sense of iconography. In order to achieve the
desired iconic character, I have developed a range of design elements and taken inspiration from Italian
Renaissance painters such as Giotto and Fra Angelico. Examples:
The burning house in the story of Job is shown as a model and appears toy-sized in front of the black angel. This
creates a symbolic effect and points to the greater connection between events.
There is a cross-over in narrative levels. For example, in the prelude "Expulsion from Paradise", the apple tree or
the serpent are not part of a landscape scene, but appear as a kind of holy relic, held up by the angels. Adam
and Eve's expulsion from paradise thus becomes a paradigm for unredeemed humanity, the opening towards
paradise the world's gaping wound.
The purpose of these ‘devotional pictures’ is not to illustrate the text; they stand in their own right and create
associative worlds. The round clouded sky in the "Golden Calf" thus divides the world and sets the sphere of the
divine against that of earthly events.
"Cain and Abel" also tells of the division of the world. The opening in the background is the stage representation
of the gateway to the lost paradise.
The round opening in the background is a recurring motif. For ‘Moses before Pharaoh", it represents the opening
towards the ‘Promised Land’.
From a formal perspective, all of these pictures are arranged in a circle around the ‘divine centre’. The surfaces of
these pictures open up associative worlds which tell of unknown interiors. In these pictures, the Jewish people
exemplify humanity in the tension between this world and the other, between the energies of life and those of
death.
Stefan Hageneier
Set and Costume Designer
4. The music accompanying the Passion Play
In 2010, too, the music accompanying the Passion Play will be largely based on the compositions by Rochus
Dedler.
Dedler (1779 - 1822) was born in Oberammergau. He received a sound musical education in Munich; his musical
models are likely to have included Wolfgang Amadeus Mozart alongside Joseph and Michael Haydn. Significant
sections of his music composed for 1820 are regularly performed in Oberammergau also in between Passion Plays
and are an integral part of local musical culture.
Over time, Dedler's music has undergone numerous arrangements and additions. Furthermore, the ensemble
which originally was more like a chamber orchestra has been adapted to the larger scale of the current Passion
Play stage.
Next year, there will normally be 4 solo singer and 44 choir members on stage, but in some scenes up to 64
singers in total. 55 instrumentalists will sit in the orchestra pit. The instrumentation of the orchestra comprises
traditional woodwind instruments together with brass instruments (including 3 trombones) and also drums and
strings.
The music of the Passion Play goes far beyond the normal function of stage music. Purely measured in time, the
musical presentations together with the Living Pictures account for about one third of the total action on stage.
In arias, soloist ensembles, dramatic and contemplative choir pieces, the suffering of the passion is reflected and
set in context to the topics of the Living Pictures from the Old Testament.
In the run-up to the 2000 Passion, extensive text alterations and the exchange of a number of Living Pictures
required an extensive rearrangement of the music. Same as 10 years ago, I have once again taken on the task of
arranging the music for the forthcoming 2010 Passion Play. The primary condition for each alteration must be to
adapt the style to the existing music. The direction chosen for the 2000 Passion Play., i.e. to have the music
reflect the spatial conditions of the stage to an ever greater degree, has been continued consistently. For that
reason, dialogue forms (e.g. between soloists and choir) play a central role in the pieces newly composed for
2010, also with the aim of dissipating as much as possible the intrinsically static nature of the musical pieces.
Markus Zwink
Musical Director and Conductor
5. The 2010 Passion Play at a glance
Words and music
Text by Joseph Alois Daisenberger (1799-1883) of 1860/70,
revised and adapted by Otto Huber and Christian Stückl.
Music by Rochus Dedler (1777-1822), originally composed in 1820 and newly arranged by Markus Zwink.
The Production Team
Christian Stückl, Principal Director of the Passion Play, born in 1961 in Oberammergau
Otto Huber, Deputy Director/ Dramatic Adviser, born in 1947 in Oberammergau
Stefan Hageneier, Set and Costume Designer, born in 1972 in Oberammergau
Markus Zwink, Conductor, born in 1956 in Oberammergau
Michael Bocklet, Conductor, born in 1945 in Schongau
The Play
Opening night on 15 May 2010
Start of each performance: 14:30, end: 22:30 (with a three-hour interval). For the first time in the 370-year
history of the Oberammergau Passion Play, part of the play will be performed in the evening.
102 performances from 15 May to 3 October 2010, five times a week.
There will be no performances on Mondays and Wednesdays.
More than half a million visitors from all over the world are expected.
Promoter of the 2010 Passion Play is the community of Oberammergau.
The Actors
Every one of the approx. 2400 actors is either born in Oberammergau or has lived in the village for at least 20
years. 21 principal parts (Jesus, Mary, John, Judas, Peter, Pontius Pilate, Caiaphas and others) 120 smaller and
bigger speaking parts, solo singers, 100 male and female choristers. orchestra, apostles, priests and scribes,
Roman soldiers and temple guards, people.
The Passion Play Theatre
The stage was built in 1928, the auditorium in 1898. For the 2000 Passion Play, the entire Passion Play Theatre
underwent a complete restoration.
The Passion Play Theatre has about 4,700 covered seats.
Tickets
15. May to 3 October 2010
102 performances (5 hours, 14:30 - 17:00 and 20:00 - 22:30, with a three-hour break for an optional dinner).
Package deals available from many travel agents or under www.passionplay-oberammergau.com : from € 199 for
one night and from €275 for two nights.
6. A Chronicle 1633–2010
1633
It all started with a vow during the Plague. In the Thirty Years’ War, the Black Death, the
Plague, came to Oberammergau in 1632. Eighty deaths from the Plague were recorded in the
register by 1633. The chronicle reports that in this time of suffering, the six aldermen and
twelve parish representatives met and vowed to hold the Passion Play every ten years. At the
time, passion plays were widespread in Europe. More than 250 plays are documented between
1500 and 1800 in Bavaria and Austria.
1634
(1st year of performance) The Passion is acted out at Pentecost at the graveyard by the
church, by 60 to 70 performers.
1662
Date of the oldest preserved copy of the Oberammergau Passion Play script. Most of the 4,902
verses come from two older plays which were already combined before 1634:
1. a mediaeval passion play (second half of the fifteenth century), a written copy of which was
found in the Benedictine monastery of St Ulrich and Afra in Augsburg.
2. the Reformation Passion “Tragedi” by the Augsburg meistersinger Sebastian Wild of 1566,
circulated as a printed copy.
1674
(5th year of performance) Scenes extended by the Weilheim Passion by the priest Johann Älbi
(1600, 1615)
1680
(6th year of performance) Switch to performances every ten years
1690
(7th year of performance) Oldest preserved municipal bill lists ‘spendings for the Passion Play’:
45 gulden (florins) and 45 kreutzer
1700
(8th year of performance) Directed by and rhymes improved by the prebendary Thomas
Ainhaus.
1720
(10th year of performance) Preserved parts of the script revised by P. Karl Bader (1662–1731)
reveal a stage with a Baroque backdrop.
1730
(11th year of performance) Revision by the Augustinian monk Anselm Manhart of Rottenbuch
(1680–1752) who introduces the allegorical figures of Envy, Greed, Death and Sin as Jesus’
opponents. Two performances. Deficit: 84 gulden.
1740
(12th year of performance) Script revision by the Augustinian monk Clemens Prasser of
Rottenbuch (1703–1770).
1750
(13th year of performance) ‘Passio Nova’ by the Benedictine monk Ferdinand Rosner of Ettal
(1709–1778), with complete new religious and design arrangement using the stylistic
vocabulary of Baroque theatre. The allegories are integrated into the story: Jesus is at the
centre of a dramatic struggle between God and the powers of hell. Rosner’s text is widely
circulated in Bavaria and makes Oberammergau an example for other plays.
1760
(14th year of performance) Two performances with 14,000 spectators.
1770
All passion plays banned in Bavaria. Oberammergau is also refused permission despite intense
efforts.
1780
(15th year of performance) Sole privilege for Oberammergau after Rosner’s Passion is revised
by the Benedictine monk Magnus Knipfelberger of Ettal (1747–1825). He restricts the
appearances of hell to musical interludes and calls the play ‘The Old and New Testament’ to
avoid mentioning the topic of the Passion.
1790
17th year of performance) Privilege renewed. The drop to 3,000 spectators
to the Napoleonic Wars leaves a deficit of 205 gulden.
connected
1800
1790
1800
(18th year of performance) To reduce municipal debts, the 1800 Passion. Play is continued
with four performances.
Minister Maximilian, Count of Montgelas, declares the Oberammergau Privilege is revoked. No
performance.
(19th year of performance) The ban on the Passion Play was lifted in 1811 after a
new
script was submitted written by the Ettal priest Dr Ottmar Weis (1769–1843) concentrating
on the Gospels, the central idea of reconciliation, with the
allegorical, mythological and
legendary elements removed, and with
contemporary theology, prose, realism and wordy,
moralistic interpretations of the examples set. Music composed by the Oberammergau
teacher Rochus Dedler (1779–1822). This music for the tableaux still plays a major role in
determining
the character of the play today
1815
(20th year of performance) Special performances in thanks for the end of the Napoleonic Wars.
The script continues to be revised by Weis and the music by Dedler. A new Empire-style stage
is acquired by prebendary J.N. Unhoch (1762–1832) flanked by Houses of Annas and Pilate
and side streets. New decorations.
1830
(22nd year of performance) King Ludwig I approves the play on condition that the stage is no
longer erected in the graveyard. Stage is moved to the northern edge of the village. In the
new theatre there is room for an audience of 5,000, although only about 13,000 spectators
come to the ten performances. Goethe publishes the enthusiastic letter sent to him by S.
Boisserée about the Passion Play in the magazine ‘Chaos’.
1840
(23rd year of performance) 35,000 visitors. This rise is due to newspaper reports from 1830.
Reviewers such as G. Görres, I. F. Lentner, L. Steub, E. Devrient, M. Deutinger and J. Sepp
discovered the Passion Play and made it widely known.
1850
(24th year of performance) Direction and individual changes to the script by Joseph Alois
Daisenberger (1799–1883, priest in Oberammergau since 1845), who, in the spirit of his
teacher J. M. Sailer develops a richly effective way of teaching the common folk, using
historical and dramatic works, among other things. An elected ‘Passion committee’ organises
the plays. The first French and English reports on the play appear.
1860
(25th year of performance) In 1858, Daisenberger revises the script at the request of the
directors and taking into account reviews from 1850. He gives priority to the Gospel of John
and tries to bring out the drama of the Passion. Instead of Weis’s updating, he opts for
universality; instead of realism, idealisation; instead of politics, psychology (e.g. in the case of
Judas). Based on antique and classical tragedy (structure, motifs), on the other hand he tries
to add common appeal by introducing legends (Saint Veronica, Ahasuerus) and stories related
to the Way of the Cross (e.g. Jesus meeting Mary).
1870
(26th year of performance) Daisenberger writes prologues to the tableaux in the rhythm of
ancient odes. However, the municipality does not accept his proposal to write the Passion in
verse. The play, interrupted by the war, is continued in 1871. 40,000 visitors, including Crown
Prince Edward of England.
1880
(27th year of performance) Number of visitors rises to 100,000. The extension of the railway
line to Murnau makes arrival easier. Thomas Cook discovers Oberammergau for the flourishing
tourist trade. Guests include the composer Anton Bruckner and Georg II, Duke of Meiningen,
who influenced the historicised theatre style of the time. Costumes made at the Munich court
theatre.
1890
(28th year of performance) Stage reconstructed by the internationally renowned
Munich theatre technician Carl Lautenschläger (separation of side houses, Neo-Renaissance
façade, technical modernisation), seating partly covered, new production in the style of court
theatre with naturalistic, historicised stage sets and costumes. 124,000 spectators at 40
performances.
1900
(29th year of performance) Roof built over entire auditorium with an iron framework. 4,200
seats. Audience of 174,000. The Allgemeine Zeitung newspaper writes: ‘Oberammergau sees
guests from all over the world; three gentlemen even arrived from China. In the church
offertory box there are coins from Egypt, India, Hong Kong, the USA, Mexico, Brazil and Peru’.
1922
(31st year of performance) The consequences of the war mean the play is shifted from 1920 to
1922. Johan Georg Lang is elected as director.
1930
(32nd year of performance) Stage rebuilt and new production created by Georg J. Lang (1889–
1968), who directed the play from 1922–1960. The clear, ascetic, monumental style of the
stage fits with the artistic concentration of the stage sets, and are accompanied by impressive
direction of large casts. The auditorium is extended to seat 5,200.
1934
(33rd year of performance) Special play to commemorate 300-year anniversary. Hitler visits the
Passion Play. The new rulers claim the play for themselves, saying it emanates from the
blessed power of the homeland. Hitler declares it ‘of importance to the Reich’ and Cardinal
Faulhaber grants an official ecclesiastical commissioning, the ‘missio canonica’.
1940
The Passion Play is dropped due to the war
1950
(34th year of performance) Music revised by Prof. Eugen Papst. 480,000 visitors including
Federal President Theodor Heuss, Federal Chancellor Konrad Adenauer and the highest
representative of the Allies, Dwight D. Eisenhower.
1960
(35th year of performance) Oberammergau is accused of a negative portrayal of Judaism by
Christian and Jewish critics. The Abbot of Ettal, Dr Johannes M. Höck, makes slight corrections
to the script but basically, the 1930 production is repeated almost unchanged.
1970
(36th year of performance) There is growing call for the Daisenberger script to be rewritten in
Oberammergau. Cardinal Döpfner calls upon people to change their views. In his words, it is
not about ‘the guilt, or even the collective guilt, of the Jews, but about the failure even of the
new Israel, of the church’. Anton Preisinger directs the play. The old script remains. All
attempts at reform fail. In America, Jewish organisations boycott the play.
1975
The municipality gives Hans Schwaighofer the task of putting on a performance based on the
Rosner script.
1977
After seven months of rehearsal with about 700 committed participants, there are eight
performances which enjoy a very positive reception by the public and critics. At a citizens’
referendum following this, however, the majority chooses against using the Rosner production
for the 1980 performances.
1980
(37th year of performance) After major disputes within the village about the correct form for
the Passion Plays, the sculptor Hans Maier directs the play based on the Daisenberger script.
Some small changes are made to the script.
1984
(38th year of performance) Special play to commemorate the 350-year anniversary.
New generation enters the municipal council, yet the Daisenberger version of the script is
chosen for the 1990 play. Then, however, in 1986, comes the surprise selection of the
youngest director of the play ever: the 25-year-old sculptor Christian Stückl.
1990
(39th year of performance) Stückl brings in a young generation of actors in the main roles.
Disputes over his direction soon assume dramatic proportions; he only just escapes being
voted out. After a collection of signatures by conservative forces, the committee does
withdraw its consent for the set by A. Kraut, which had already been approved.
In the run-up to the Passion Play, a script commission, led by Prof. Rudolf Pesch, looks for
solutions to answer ongoing queries from the Anti-Defamation League to stop the
defamation of the Jewish people. The question of whether married and older women can
perform receives a positive response from the provincial High Court. 480,000 visitors.
2000
(40th year of performance) Directed by Christian Stückl, the greatest script reform comes about
since 1860. Along with the deputy director Otto Huber, Stückl attempts to eliminate the antiJudaism in the play. The main point, however, is to give the figures more individualism. Not to
restrict Jesus to his suffering, but instead to portray him as a strong fighter for his faith. In an
amazing community achievement, almost 2,000 new costumes and 28 new sets are created,
designed by the Oberammergau set designer Stefan Hageneier. Markus Zwink, who was already
the musical director in 1990, rearranges the Dedler music. 520,000 visitors
7. Biographies of the directing team
Christian Stückl,
Principal Director of the 2010 Passion Play
Christian Stückl, director of the previous two passion plays and theatre director of the Munich
Volkstheater, will again bring together the artistic team behind the much-vaunted 2000 Passion Play.
1961
1981-1984
from 1981
1987
1987
1990
1991-1996
1991
1994
1996
from 1996
1998-1999
2000
2002
2002
2004
2005
2005
2006
2007
2008
2009
2007
born in Oberammergau the son of inn-keepers
apprenticeship in wood-carving in Oberammergau
development of a theatre group in Oberammergau
assistant producer under Dieter Dorn at the Munich Kammerspiele
appointment as Principal Director for the 1990 Passion Play
production of the Oberammergau Passion Play
resident producer at the Munich Kammerspiele
awarded the title of Best Young Producer of the Year by Theater heute
theatre work in India
elected by referendum as director of the 2000 Passion Play
guest producer in Vienna, Bonn, Karlsruhe, Hanover et. al.
adaptation of the passion play script for the 2000 Passion Play
(most comprehensive reform of the text since 1860)
production of the Oberammergau Passion Play
production of "Jedermann" at the Salzburg Festival
in autumn taking up of position as theatre director at the Munich Volkstheater
first opera production at the Cologne Opera House of Beethoven's "Fidelio"
producer of the biblical play "König David" in Oberammergau
re-election as principal director
producer of the opening ceremony of the 2006 Football World Cup in Munich
producer of the play "Jeremias" in Oberammergau
production of "Richard III" at the Munich Volkstheater
production of "Palestrina" at the Bavarian State Opera
production of “Hamlet” at the Munich Volkstheater
adaptation of the passion play script for the 2010 Passion Play
Christian Stückl has been awarded the City of Vienna "Kainz Medaille" for the 1996/1997 season for his
production of "Dysmorphomanie".
In 2008, Christian Stückl has become a member of the Bavarian Academy of Fine Arts.
Stefan Hageneier
Set and costumes
Stefan Hageneier has been responsible for the impressive stage sets and lavishly redesigned costumes of
the 2000 Passion Play. After "König David" in 2005 und "Jeremias" in 2007, he will also create new stage
sets and costumes for the 2010 Passion Play.
1972
1988 to 1991
1991 to 1993
born in Oberammergau
apprenticeship in wood-carving in Oberammergau
assistant for stage and costumes at the Munich Kammerspiele
under Herbert Achternbusch et al.
1991 to 1997
assistant to Jürgen Rose and Robert Wilson.
Repeated stays at the Watermill Center, New York
1996
co-design of "Time Rocker" with Robert Wilson and Lou Reed
1997
co-design and costume design for "Prometeo" by Luigi Nono, La Monnaie,
Brussels, a production by Robert Wilson
2000
Passion Play Oberammergau
initiation and artistic direction of "14 Stations", an installation
by Robert Wilson
set and costumes for "Parasiten" at the Munich Kammerspiele
From 2001
resident set and costumes designer and Head of Costumes and Sets
at the Bayerische Staatsschauspiel
selection of works:
Der Tagraum, Kabale und Liebe, Der Narr und seine Frau heute Abend Pancomedia,
Die Bakchen, Brand, Der Gwissenswurm, Pool (no water),
Klein Eyolf
Stefan Hageneier works as a set and costume designer at the Bayerische Staatsschauspiel, the Bavarian
State
Opera
in
Munich,
the
Schaubühne
Berlin
and
the
Berliner
Ensemble.
Producers he has worked with include Christian Stückl, Robert Wilson, Florian Boesch, Yoshi Oida, Harald
Clemen, Dieter Dorn, Benedict Andrews, James Macdonald, Franz-Xaver Kroetz and Thomas Langhoff.
Otto Huber
Deputy Director and Dramatic Adviser
1947
1957-66
1967-68
1966 - 1974
1968 – 1969
1972
1974 - 1976
1976 - 1985
1988
1989 – 1990
1990
1991 - 1997
1995
1998 - 1999
1999
2000
2001/02
2006
2007
born in Oberammergau
Benediktiner-Gymnasium Ettal
study of Romance languages and literature in Besançon
study of the history of German literature, theology, Romance languages and
literature and theatre studies in Munich
establishment of a Passion Play working group in Oberammergau
prefect in the Benedictine monastery of Schäftlarn
probationary teacher in Passau
teacher of French and German at the Gymnasium in Lauingen/ Donau;
various school productions including Brecht "Dreigroschenoper" ("Threepenny
Opera"), Molière, 18th cent. Good Friday play.
election as Deputy Director of the 1990 Passion Play in Oberammergau
participation in the exhibition about passion plays in the Alpine region ( "Hört,
seht, weint und liebt! Passionsspiele im Alpenraum"), author of the foreword
to the illustrated book "Passion Oberammergau 1990"
Deputy Director and speaker of the prologue
teacher of German and French and director of drama at the StaffelseeGymnasium Murnau; various productions including
Horváth "Italienische Nacht" and Weis "Marat/Sade"
production of the" Beggars Opera" by John Gay/ John Pepusch in the Kleines
Theater Oberammergau
revision and adaptation of the text of the Passion Play
organization of the film retrospective "Von Oberammergau nach Hollywood.
100 Jahre Jesus im Film"
Deputy Director and Dramatic adviser, prologue
Sophocles "Electra", dramatization of Horváth's "Jugend ohne Gott" ("Youth
Without a God")
hotelier in Oberammergau
Benatzky's "Herzen im Schnee"
2008
appointment as deputy director and dramatic adviser for PassionPlay 2010
MARKUS ZWINK
Musical director
A descendant of one of Oberammergau's oldest families. For 30 years, he has been a significant source
of inspiration and influence for the musical life in his home village.
For almost as long, he has accompanied Christian Stückl's stage productions.
He made a significant contribution to the success of the new production of "Jedermann" at the Salzburg
Festival and also as musical arranger and director of the 2000 Passion Play.
1956
1975
1980
From 1984
1990
From 1992
To 1997
From 1997
2000
2001
2002
2005
2007
born in Oberammergau
completion of secondary education with the Abitur at the Gymnasium Ettal. He then
studied Music in Schools at the Salzburg Mozarteum and the Munich University of
Music, studied under Nikolaus Harnoncourt as a visiting student.
bass soloist at the Passion Play
Head of Music in Oberammergau, where he directs several choirs as well as the local
orchestra. With the Ammergauer Motettenchor, he performs ambitious concerts of a
capella music and oratorios.
Musical Director of the Passion Play
organization of major musical events in the Oberammergau Passion Play Theatre
music teacher at Gymnasium Ettal
arrangement of the music for the 2000 Passion Play
musical director of the Passion Play
music for Felix Mitterer's play "Michael Gaismayr", Volksschauspiele Telfs
music for "Jedermann" at the Salzburg Festival
music (composition and direction) for "König David" at the Oberammergau Passion
Play Theatre
music (composition and direction) for "Jeremias" at the Oberammergau Passion Play
Theatre
MICHAEL BOCKLET
Conductor
1945
1951 - 1960
1960 - 1964
1964
1964
1965 - 1968
1968 - 1972
1972 - 1974
1974 - 1994
From 1994
From 1997
From 1999
2000 and 2010
born in Schongau
primary and secondary schooling in Schongau
vocational training as a church organ builder
winner of the professional skills competition for organ builders in
Bavaria and Germany
National Winner in the trombone section of the German
"Jugend musiziert" music competition
National Service and member of the Band of the 1st Mountain
Infantry Division
university course with state examination at the Munich University of Music, majoring in
trombone (under Prof. Friedrich Sertl) and conducting under Prof. Jan Koutsier;
followed by masterclass study
bass trombonist for Hamburger Symphoniker
trombonist, choir leader and deputy musical director of the Band of the 1st Mountain
Infantry Division in Garmisch-Partenkirchen
conductor of the band of the Musikverein Oberammergau
regional director for the Werdenfels district in the Musical Confederation of Upper and
Lower Bavaria
choir master at the Church of St. Peter and Paul in Oberammergau
conductor at the 2000 and 2010 Passion Plays in Oberammergau
8. The cast
Cast list for the 2010 Passion Play in Oberammergau
"The Oberammergau Play of the suffering, death and resurrection
of our Lord Jesus Christ"
Play in 11 scenes. Text by Joseph Alois Daisenberger (1799-1883) of 1860/ 70,
revised and adapted by Otto Huber and Christian Stückl. Music by Rochus Dedler (1777-1822), originally
composed in 1820 and newly adapted by Markus Zwink.
The cast for the principal parts
Huber Otto
Prologue
Zwink Dominikus
Mayet Frederik
Jesus
Richter Andreas
Konsek Jonas
Peter
Stöger Maximilian
Lück Carsten
Judas
Norz Martin
Geisenhof Benedikt
John
Schuster Martin
Burkhart Ursula
Mary
Hecht Andrea
Dobner Barbara
Mary Magdalene
Reiser Eva-Maria
Burkhart Anton
Caiaphas
Preisinger Anton
Bierling Raimund
Annas
Stückl Peter
Adam Michael
Nathanael
Fischer Simon
Eich Tobias
Archelaus
Müller Matthias
Fischer Walter
Joseph of Arimathea
Rutz Walter
Maier Christoph
Nicodemus
Schmid Hubert
Müller Johannes
Gamaliel
Reindl Stephan
Güntner Martin
Ezechiel
Jablonka Tobias
Bierling Christian
Pontius Pilate
Burkhart Stephan
Fussy Raimund
Herod
Köpf Markus
Feldmeier Johann
Longinus
Meiler Ferdinand
Führler Karl
Simon of Bethania
Zwink Anton
Aurhammer Elisabeth
Veronica
Killer Dominika
Dörfler Sebastian
Angel
Laubert Maximilian
9. Biographies of the actors
Brief biographies of the actors in the 2010 Passion Play
Prolog
Huber Otto
Age
Occupation
1950, 1960 and 1970
1990 und 2000
62 years
Senior teacher
Crowd
Prologue und 2nd director
Zwink Dominikus
Age
Occupation
1970, 1977, 1980 and 1984
1990
41 years
Lawyer
Crowd
Lazarus
Jesus
Mayet Frederik
Age
Occupation
2000
29 years
Press officer of the Passion Play 2010
John
Richter Andreas
Age
Occupation
1980, 1984 and 1990
2000
32 years
Psychologist
Crowd
Archelaus, Priest
Peter
Konsek Jonas
Age
Occupation
2000
22 years
Student
Crowd
Stöger Maximilian
Age
Occupation
2000
20 years
Student
Crowd
Judas
Lück Carsten
Age
Occupation
1980 and 1984
1990
2000
39 years
Leads the Set building department of Passion Play 2010
Crowd
Prologue
Judas
Norz Martin
Age
Occupation
1970, 1977 and 1980
1984
1990 and 2000
44 years
Diploma in public administration
Crowd
Roman soldier
Jesus
John
Geisenhof Benedikt
Age
Occupation
2000
20 years
Student
Crowd
Schuster Martin
Age
Occupation
2000
20 years
Student
Servant of the Last supper
Mary
Burkhart Ursula
Age
Occupation
1970
1977
1980
1984 and 1990
2000
48 years
Actress
Crowd
Dead woman
Judith
Mary
Mary Magdalene
Hecht Andrea
Age
Occupation
1970
1977, 1980 and 1984
1990
2000
47 years
Kauffrau und Holzbildhauerin
Crowd
Chorister
Mary Magdalene
Mary
Mary Magdalene
Dobner Barbara
Age
Occupation
1990 and 2000
22 years
Student
Crowd
Reiser Eva-Maria
Age
Occupation
1990
2000
24 years
Flight attendant
Crowd
Orchestra (Violin)
Caiaphas
Burkhart Anton
Age
Occupation
1977, 1980 and 1984
1990
2000
39 years
Forester
Volk
Nathanael, Priest
Jesus
Preisinger Anton
Age
Occupation
1980 and 1984
1990
2000
40 years
Hotelier
Crowd
Archelaus, Priest
Judas
Annas
Bierling Raimund
Age
Occupation
1950 and 1960
1970
1977
70 years
Optician
Crowd
Esdras, Servant of the High Priests
Avarice
Stückl Peter
Age
Occupation
1950
1960
1970
1977
1980 and 1984
1990
2000
66 years
Innkeeper
Crowd
Chorister
Nathanael, Priest
Judas
Caiaphas, High Priest
Judas
Caiaphas, High Priest
Nathanael
Adam Michael
Age
Occupation
1980 and 1984
1990
39 years
Carpenter
Crowd
John
Fischer Simon
Age
Occupation
1990
2000
27 years
Carpenter
Crowd
John
Archelaus
Eich Tobias
Age
Occupation
1980, 1984 and 1990
2000
32 years
Carpenter
Crowd
Sentinel of the temple
Müller Matthias
Age
Occupation
1980 and 1984
1990 and 2000
40 years
Horticulture engineer
Crowd
Nathanael, Priest
Josef of Arimathea
Fischer Walter
Age
Occupation
1950
1960
1970
1977
67 years
Senior teacher
Crowd
Chorister
Chorister and standby of the Prologue
Prologue
1980 and 1984
1990
2000
Soloist (Bass)
Caiaphass, High Priest
Pontius Pilate
Rutz Walter
Age
Occupation
1970 and 1980
1984
1990
44 years
Business administration
Crowd
John
Dathan, Priest
Nicodemus
Maier Christoph
Age
Occupation
1990 and 2000
26 years
Diploma in public administration
Crowd
Schmid Hubert
Age
Occupation
1970 and 1980
1984
1990
2000
45 years
Forester
Crowd
Sentinel of the temple
Arphaxad, Sentinel of the temple
Nicodemus, Priest
Gamaliel
Müller Johannes
Age
Occupation
1970
1980
1984
1990
2000
42 years
Carpenter
Crowd
Servant at the Last supper
Lazarus
Roman Soldier
Ezechiel, Priest
Reindl Stefan
Age
Occupation
1970, 1980 and 1984
1990
2000
48 years
Administrative officer
Crowd
Jesus
Peter
Ezechiel
Güntner Martin
Age
Occupation
1990 and 2000
22 years
Systems mechanic
Crowd
Jablonka Tobias
Age
Occupation
1977, 1980,1984 and 1990
34 years
Hotelier
Crowd
Pontius Pilate
Bierling Christian
Age
Occupation
1970
1977
1980 and 1984
1990
44 years
Special effects technician and Innkeeper
Crowd
Devil
Crowd
Sabinus, Roman Soldier
Burkhart Stefan
Age
Occupation
1970, 1977 and 1980
1984
1990
2000
41 years
Merchant
Crowd
Roman Soldier
Pontius Pilate
Caiaphas, High Priest
Herod
Fussy Raimund
Age
Occupation
1970
1977
1980 and 1984
1990
49 years
Dentist
Crowd
Laban, Servant of Pontius Pilate
Roman Soldier
Titus, Roman Soldier
Köpf Markus
Age
Occupation
1980, 1984 and 1990
2000
33 years
Educational employee in the Bavarian ministry of culture
Crowd
Ezechiel, Priest
Longinus
Feldmeier Hans
Age
Occupation
1960 and 1970
1984
1990
2000
51 years
Set designer
Crowd
Sentinel of the temple
Nicodemus, Priest
Longinus, Roman captain
Meiler Ferdinand
Age
Occupation
1990 and 2000
22 Jahre
Industrial mechanic
Crowd
Simon of Bethany
Führler Karl
Age
Occupation
1970 and 1977
1980 and 1984
1990
2000
77 years
Wood carver
Usher
Nathanael, Priest
Annas, High Priest
Gamaliel, Priest
Zwink Anton
Age
Occupation
1950
1960
1970
1977
1980
1984
1990 and 2000
71 years
Wood carver
Crowd
Sentinel of the temple
Roman soldier and standby of Longinus, Roman captain
Apostle
Longinus Roman captain
Dathan, Merchant
Joseph of Arimathea, Priest
Veronica
Aurhammer Elisabeth
Age
Occupation
1990 und 2000
21 years
Trainee
Crowd
Killer Dominika
Alter
Beruf
1980, 1984 and 1990
2000
31 years
Interior decorator
Crowd
Veronica
Angel
Dörfler Sebastian
Age
Occupation
2000
17 years
Pupil
Crowd
Laubert Maximilian
Age
Occupation
2000
16 years
Pupil
Crowd
Soloists
Soprano
Buchwieser Maria
Age
Occupation
1990
2000
43 years
Senior teacher
Soprano-Soloist
Conductor
Soprano
Weinfurter-Zwink Gabriele
Age
Occupation
1990 and 2000
51 years
Singer
Soprano-Soloist
Soprano
Osterhammer Katharina
Age
Occupation
1990
2000
30 years
Concert manager
Crowd
Sopransoloist
Contralto
Köpf Claudia
Age
Occupation
1970
1977 and 1980
1984
1990
2000
50 years
Medical secretary
Crowd
Choir
Sopransooist
Crowd
Contraltosoloist
Contralto
Fischer-Zwink Caroline
Age
Occupation
1970, 1977 and 1980
1984
1990 und 2000
43 years
Medical scientist
Crowd
Choir
Contraltosoloist
Contralto
Schauer Antonie
Age
Occupation
1970 and 1980
1984
1990 and 2000
44 years
Businesswoman, Wood carver
Crowd
Choir
Contraltosoloist
Tenor
Pfaffenzeller Michael
Age
Occupation
1999
Orchestra / Violin
Tenor
Heinzeller Korbinian
Age
Occupation
2000
21 years
Student
26 years
Trainee teacher
Volk
Tenor
Fellner Paul
Age
Occupation
1980, 1984 and 1990
2000
35 years
Carpenter
Crowd
Tenorsoloist
Bass
Buchwieser Heinrich
Age
Occupation
1960 and 1970
1977
1990 and 2000
52 years
Businessman, Carpenter
Crowd
Orchestermitglied (Horn)
Bass-Soloist
Bass
Zwink Josef
Age
Occupation
1980, 1984 and 1990
2000
31 years
Singer
Crowd
Bass - Soloist
10. Picture peview
Bethanien / Bethania
Grablegung / Christ's entombment Tempelvorplatz_Einzug_in_Jerusalem
Entry of Jerusalem
Eherne_Schlange / Brazen serpent
Felsen_Gaabaon / Rock Gaabaon
Kain_und_Abel / Cain and Abel
Opferung_Isaaks / devotement of Isaac
Vertreibung_aus_dem_Paradies /
the loss of paradise
Brennender_Dornbusch /
burning thorn-bush
Credits:
Titel des Modells, Passionplay Oberammergau 2010 / Andrea Göttler
The picture material enclosed may of course be used free of charge for the
purpose given, provided that
"Oberammergau“ and “Passion Play 2010” is mentioned in connection with the picture
two specimen copies are sent to Oberammergau Tourismus (Address: Geschäftsstelle der
Passionsspiele 2010, z. H. Frederik Mayet, Eugen-Papst-Str. 9a, 82487 Oberammergau)
Picture of the Passion Play 2000
Scene_01
Pictures of the directing team
Bild_01
Bild_02
Christian Stückl, Director
Bild_03
Bild_04
Otto Huber 2nd director
Bild_05
Bild_06
Stefan Hageneier, Stage and costume design
Bild_07
Bild_08
Markus Zwink, Musical director and conductor
Bild_09
Bild_10
Michael Bocklet, conductor
Bild_11
Bild_12
Bild_13
Bild_11: Team ( v.l. Michael Bocklet, Christian Stückl, Markus Zwink, Otto Huber, Stefan Hageneier)
Bild_12: Team ( v.l. Michael Bocklet, Otto Huber, Christian Stückl, Markus Zwink, Stefan Hageneier)
Bild_13: Team ( v.l. Michael Bocklet, Otto Huber, Christian Stückl, Markus Zwink, Stefan Hageneier)
© Thomas Dashuber/Passionsspiele Oberammergau 2010
11. Contact
Ticket contact
Press contact
Geschäftsstelle der Passionsspiele 2010
Director Frederik Mayet
Oberammergau und DER Reisebüro oHG
Assistant Weronika Demuschewski
Eugen-Papst-Str. 9a
Briennerstraße 50
82487 Oberammergau
80333 München
[email protected]
[email protected]
Phone ++49 8822 923 10
Phone ++49 89 523 55 13
Fax
Fax ++49 89 523 55 65
++49 8822 923 152
www.passionsspiele2010.de
www.passionsspiele2010.de