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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