At the time when the elements of theatre were introduced into the everyday life of European royal courts, such tendencies influenced also the ways of staging religious events. Magnificent processions during major Christian holidays, announcements of the saints, carrying of relics became an impressive self-representation. It was the religious influence of the period which brought new impulses into drama. Horizontal of human world, which inspires commedia dell'arte and Elizabethan theatre, is completed by the vertical: Baroque Drama extends "from heaven through the world to hell." As such, it represents the restoration of the medieval cosmos transcendent. The basis of Baroque theatre represents tension between immanence and transcendence and every event on stage is a part of the history of salvation. The focus of our research is on the Jesuit College in Spišská Kapitula, representing a participation of north-eastern part of the Austro-Hungarian monarchy on the rich cultural life of Baroque Europe. General tendency towards dramatisation of life is represented, inter alia, by tireless creative activity of the Jesuits, supported by a few individual members from among the nobility and clergy. The author examines the preserved documentation for the productions Sapientia Salomonis Quesita et Possessa (1649) and Magnes Amoris Divini (1650).
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Theatrical production was considered a duty for each Jesuit. This is because he had to work as a teacher twice during his monastic duties and write at least one play per year within his teaching activity. However, writing plays represented only a temporary duty for most Jesuits. Nevertheless, some of the plays prove certain talents which their authors possessed; their theatrical activities, however, usually ended with their pedagogical activity. The Jesuits who composed dramas beyond their lecturing duties were of course in minority.
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