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)调查自19世纪以来奥贝拉默高·激情戏剧的多元化和稳定性。基于制度理论的方法，它考察了宗教承诺的主张如何在奥贝拉默尔高永久存在，以及补偿性叙述如何吸收有效性的侵蚀。自1634年以来一直定期上演的《激情》戏剧是中世纪晚期宗教戏剧的传统。当然，自那以来，它的务实和功能参数发生了变化。自19世纪中叶以来，Oberammergau一直吸引着国际观众，受到组织良好的旅游业的照顾。在20世纪，国家社会主义宣传为该剧和该村提供了工具，在20世纪70年代，该剧的组织者开始对反犹太主义的指控做出反应。当克里斯蒂安·斯特克尔于1990年成为舞台导演时，自我营销得到了加强，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。该项目追溯了引用传统和不断变化的历史和媒体背景之间的紧张关系如何在Oberammergau机构中变得可以协商。此外，该项目不仅侧重于该剧，还侧重于对村庄和各种行为者(个人、集体、事物)的看法以及对Oberammergau及其激情戏剧的调解：多种媒体作品的纪录片和评论，以及通过民族学实地考察，超越主要书面话语的立场是归纳基础的一部分。因此，该项目将一个被学术界广泛忽视的复杂问题与戏剧和文学研究、媒体学和民族学的中心辩论联系起来。通过Oberammergau的例子，它考察了戏剧作为一个社区化的地方，叙事化和“讲述历史”的模式，叙事和编年史的表演结构。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。共同的视野是认证战略的问题，但也是在将自己构思为“世俗”、“后世俗”甚至“多重世俗”的背景下使宗教信仰发挥作用的选择。随着申请的延长期，这一观点扩展到媒体历史前提条件，即如何在Oberammergau保持对有效性连续性的主张(图画政权和图画霸权，村庄和机构稳定和转型舞台上的东西的功能)。2020年激情游戏时期的加入也提供了入职基础的独特扩展。

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.