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On the revival of passion plays
Fadieh Lovsky
History shows that during the Middle Ages the representation of the “mistères”, (1) that is to say the events of the Passion, reflected and was a continuing source of Christian antisemitic sentiment. Historians agree on this unanimously. The representations did not contain mere antisemitic blunders. Albert Pauphilet, a great admirer of texts from this era, presented the Passion Plays of the fourteenth century by highlighting the “harsh contrast of wild farce and pathos” in these mystery plays. (2)
During the twentieth century there has been ongoing concern that the few surviving performances of this once popular theatre form remain tainted with this centuries-old antisemitism. The late Father Kurt Hruby was very attentive to this. It remains necessary to always ensure that these representations do not feed those overly-confident consciences in the audience which are always ready to hold the Jews, and only the Jews, responsible for the tragic events of the Passion.
Therefore those who fear the persistence of Christian antisemitism do not regret the general state of decline in which this old popular religious theatre finds itself today. But must the increased vigilance due to the Shoah lead, in principle, to an outright condemnation of these Passion Plays? Is it necessary to discourage those who are thinking of revitalizing this tradition? I believe there are three reasons why this need not be the case.
My first reason concerns the decline of this outdated theatre and its inability to be adapted or revived in its ancient form. The texts are no longer suitable for performance. From the theatrical point of view, they must be revised, shortened and refocused. This required modernization almost automatically opens the door for the necessary pastoral vigilance regarding the risk of antisemitism.
Secondly, cinema has already shown the way and has proven that the content of the Passion Plays of an earlier era can be brought to the masses of today. Hollywood has accomplished it. I do not claim that the so-called biblical films are always successful, nor that those dealing with the Passion are totally satisfactory. I simply want to note that, in general, they manifest a certain concern not to arouse antisemitic sentiment.
The third and most conclusive reason is that the Shoah and what it has taught us has made us cognizant of the issues involved in all representations, through cinema or theatre, of the Gospels or the Passion. Just after the last War the brilliant film director, Abel Gance, was preparing to make a film on the Passion. It was to be called The Divine Tragedy. He submitted his script to members of the newly-founded “l’Amitié Judéo-Chrétienne de France.” Though the film was never made, the gesture was symbolic. Since then there has been an awareness of the need to advance carefully. Having seen Zeffirelli’s film, I would conclude that he took similar precautions.
There may be concern that future directors of parish religious theatre will be less cautious. This is possible and it is necessary to be on guard. But, today the Christian sensitivity which no longer accepts reference to the charge of “deicide” in a homily also rejects similar representations in a Passion Play.
In comparison to cinema, which involves the work of specialists in varying degrees, a theatrical representation can become, for the performers and all the participants, a vehicle for biblical enculturation and evangelization while also initiating them into the demands of religious relations between Christians and Jews. Just as the earlier Passion Plays were, regrettably, an outlet for anti-Jewish sentiment, theatrical representations of the Passion after the Shoah can and must be an occasion to develop necessary new understandings on the part of Christians.
My point of view favoring a revival of Passion Plays was reinforced by the performance which takes place during Holy Week in the square and church of Saint Laurent of Tullins, a small city north of Grenoble. I was impressed by its quality and careful use of text, by the spiritual atmosphere marking the performance, and by the fervor of the audience. In 1995 enthusiasm for the performance spread by word of mouth, resulting in seven sold-out showings. In 1997 there were fourteen performances before 5,500 people who were not mere spectators, but true participants. This 1997 showing involved nearly 180 actors along with approximately a hundred others who worked on costumes, sets, administration and organization.
This venture, begun in 1993 by Madame and Monsieur Rosand, has resulted in great unity among the eleven parishes around Tullins.
Notes* Prof. Fadieh Lovsky is a historian specializing in Jewish-Christian relations. He is author of several books, including La déchirure de l’absence, essai sur les rapports de l’Eglise du Christ et du peuple d’Israël, Calmann-Lèvy, 1971. He was President of the commission “Eglise et peuple d’Israël” of the Fédération protestante de France from 1980 to 1986. This article has been translated from French.
1. “mistères” - Old French generic term for “mystery plays”, medieval representations based on scriptural incidents and usually centering on the life, death and resurrection of Christ.
2. Manuscrit Palatinus, in Jeux et Sapience du Moyen Age, Pléiade, 1941, p 209.
