The village of Christ. Institutional-theoretical and historical perspectives on Oberammergau and its passion play in 19th-21st centuries

该项目以跨学科的方式（戏剧研究，文学研究，民族学）调查了自19世纪世纪以来上拉梅尔高激情戏的多元化和稳定化。基于制度理论的方法，它探讨了如何主张宗教承诺的延续，在上拉梅尔高和补偿叙事如何吸收侵蚀的有效性。自1634年以来一直定期演出的受难剧是中世纪晚期宗教戏剧的传统。当然，自那时以来，其实用和功能参数发生了变化。自世纪中期以来，上拉梅尔高一直吸引着国际游客，并受到组织良好的旅游业的照顾。在20世纪世纪，国家社会主义的宣传工具发挥和村庄，在20世纪70年代，发挥的组织者开始对反犹太主义的指控作出反应。1990年，克里斯蒂安·施图克尔成为舞台导演，自我营销得到加强，表演美学和自我反思获得了前所未有的话语和实用主义地位。该项目追溯了传统与不断变化的历史和媒体背景之间的紧张关系如何在“机构Oberammergau”中变得可以谈判。此外，该项目不仅关注戏剧，而且关注村庄和各种演员（个人，集体，事物）的观点以及上拉梅尔高及其激情戏的媒介化：多媒体作品的记录和评论，以及通过民族学实地考察，超越主流书面话语的立场是归纳基础的一部分。因此，该项目将一个其复杂性被学术界广泛忽视的问题与戏剧和文学研究、媒介学和民族学的中心辩论联系起来。以上拉梅尔高为例，考察了戏剧作为一个公共化的场所、叙事化和“讲述历史”的模式、时间拓扑学的叙事和表演建构。它着眼于宗教和旅游领域，并考虑到舞台和城市空间的中间场景。共同的视野是认证策略的问题，但也是在将自己视为“世俗”，“后世俗”甚至“多重世俗”的背景下功能化宗教信仰的选择。随着时间的延长，这一观点扩展到媒体历史的先决条件，即如何在上拉梅尔高保持有效性连续性的要求（图像政权和图像霸权，村庄和舞台上的事物在制度稳定和变革中的作用）。包括2020年激情游戏期间也提供了一个独特的扩展归纳的基础。

The project investigates the pluralisation and stabilisation of the Oberammergau Passion Play since the 19th century in an interdisciplinary way (theatre studies, literary studies, ethnology). Based on institutional-theoretical approaches, it examines how claims to religious commitment are perpetuated in Oberammergau and how compensatory narratives absorb erosions of validity. The Passion Play, which has been regularly performed since 1634, is in the tradition of late medieval religious theatre. Of course, its pragmatic and functional parameters have shifted since then. Since the middle of the 19th century, Oberammergau has been attracting an international audience that is looked after by well-organised tourism industry. In the 20th century, National Socialist propaganda instrumented the play and the village, in the 1970s the organisers of the play began to react to accusations of anti-Semitism. When Christian Stückl became the stage director in 1990, self-marketing was intensified, and performance aesthetics and self-reflection gained an unprecedented discursive and pragmatic status. The project traces how the tension between references to tradition and changing historical and media contexts becomes negotiable in an 'institution Oberammergau'. Moreover, the project focuses not only on the play but also on perspectives on the village and the various - actors (individuals, collectives, things) as well as mediatizations of Oberammergau and its Passion Play: Documentations and commentaries of multiple media compositions and, through ethnological fieldwork, positions beyond the dominant written discourse are part of the induction basis. Thus, the project links a matter whose complexity has been widely neglected by academia to central debates of theatre and literary studies, mediology, and ethnology. By the instance of Oberammergau, it examines theatre as a place of communalization, patterns of narrativization and 'telling history', the narrative and performative construction of chronotopologies. It looks at the fields of religion and tourism and takes into account the intermedial scenography of stage and urban space.The shared horizon is the question of authentication strategies, but also options for functionalizing religiosity in contexts that conceive themselves as 'secular', 'post-secular' or even ‘multiple secular’. With the extension period applied for, the view expands to the media-historical preconditions for how the claims to the continuity of validity can be maintained in Oberammergau (pictorial regimes and pictorial hegemonies, the function of things in the village and on the stage for institutional stabilisation and transformation). The inclusion of the 2020 Passion Play period also offers a unique expansion of the induction basis.