The Oberammergau Passion Play became internationally famous in the latter half of the nineteenth century. Beginning in the 1840s and 1850s and through the early twentieth century, English-speaking foreign tourists from Ireland and the United Kingdom, the United States, Canada, and even Australia published a surprising number and variety of accounts of travel to the village and attendance at the Passion Play. Professional and amateur historians described the production as an evolutionary throwback or curious hybrid of ancient Greek and medieval theatre, regarding it as an object and event of antiquarian interest. Foreign female travelers attended the play in impressive numbers, and their accounts provide insight into contemporary women's readings of theatre, travel, spirituality, gender inequality, gendered spaces, and cultural difference. Protestant writers reflected uneasily on the play's communication of spiritual truth by means of images. And all of these accounts, whether published in the popular periodical press or as monographs, in turn encouraged increasing numbers of travelers to make the same journey—represented sometimes as a religious and sometimes as an artistic pilgrimage—to the isolated Bavarian village.

中文翻译：

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19 世纪和 20 世纪早期奥伯阿默高激情剧的表现形式：遗传、优生戏剧和“史诗选择”

Oberammergau 的激情剧在十九世纪下半叶蜚声国际。从 1840 年代和 1850 年代开始，一直到 20 世纪初，来自爱尔兰和英国、美国、加拿大甚至澳大利亚的讲英语的外国游客发表了数量惊人、种类繁多的关于前往村庄和参加激情戏。专业和业余历史学家将这部作品描述为古希腊和中世纪戏剧的进化倒退或奇怪的混合体，将其视为具有古董兴趣的对象和事件。外国女性游客数量惊人，她们的叙述让我们深入了解当代女性对戏剧、旅行、灵性、性别不平等、性别空间和文化差异的解读。新教作家不安地反思该剧通过图像传达精神真理。所有这些报道，无论是在大众期刊上发表还是作为专着发表，反过来又鼓励越来越多的旅行者踏上同样的旅程——有时代表宗教，有时代表艺术朝圣——前往与世隔绝的巴伐利亚村庄。