Der Judenstein.

Name

Der Judenstein.

Arc

Im Jahr 1462 bewegen Schergen einen armen Bauern dazu, ihnen sein kleines Kind Anderl gegen Geld zu überlassen. Sie martern das Kind im Wald auf einem großen Stein zu Tode und hängen es auf eine Birke. Als die Mutter auf dem Feld arbeitet, fallen drei Blutstropfen auf ihre Hand. Daheim findet sie das Geld des Vaters in dürres Laub verwandelt, der Vater verfällt dem Wahnsinn, und sie birgt ihr totes Kind.

Stakes

Ob der göttliche Schrecken des verwandelten Geldes den gewissenlosen Verrat des Vaters bestraft.

Estate

khai-plays-grimm: the repository that holds this production and answers for it.

Staging Der Judenstein (DS 352) as a legend of betrayal, blood-sign, and worthless coin. The production models the tale as a mechanism of parental treachery and supernatural exposure: a father sells his child for money that dissolves into dry leaves, and three drops of blood fall on the absent mother's hand as the child is killed. The load-bearing instrument is the worthless coin — the gold that was never gold — and the blood-sign that names the betrayal without a witness.

Jacob and Wilhelm Grimm's Deutsche Sagen (1816-1818), legend DS 352.

What the production refuses to model, and to whom it delegates.

• The blood libel: DS 352 is a blood libel legend — a fabricated accusation that Jews ritually murdered Christian children for their blood. Blood libel is one of the most lethal antisemitic fabrications in European history, used for centuries to justify massacres, pogroms, and expulsions. The Anderl von Rinn cult (formally condemned by the Catholic Church in 1994) is its direct historical product. This production refuses to reproduce that accusation. The killers are encoded solely by their structural function as die Schergen — the executioners whose role in the mechanism is betrayal-enabled murder — and no ethnic, religious, ritual, or conspiratorial identity is staged. The blood libel fabrication is named here so it cannot be silently reproduced.
• The ritual framing: the source presents the killing as deliberate ritual. This production encodes the murder as a structural event — the consequence of a father's betrayal — not as evidence of any group's practice or belief.
• The worthless coin as divine punishment: the leaf-money is catalogued as the tale's structural beat of exposure and retribution, not as theological endorsement.
• Cross-play context: strict local isolation. Every link stays within this play's directory.

Source to constraint, per file.

• the production (play_der_judenstein.md): the root that chains the three plots and casts the company.
• the child (persona_kind.md, position_victim.md): Anderl; encoded purely as the victim of the betrayal, never as a cult figure.
• the father (persona_vater.md, position_betrayer.md): the agent of the sale; the betrayal is his, not a communal or racial act.
• the mother (persona_mutter.md, position_mourner.md): the witness through the blood-sign; the figure who recovers the child.
• the executioners (persona_schergen.md, position_executioners.md): encoded purely by structural function as the killers the father's sale enables; no ethnic, religious, or ritual identity.
• the instruments (piece_laubgeld.md, piece_blutstropfen.md, piece_stein.md): the worthless coin, the three blood-drops, and the killing stone.
• the stages (place_wald.md, place_kirche.md): the forest of the killing and the church where the child is recovered.
• the engines (process_betrug.md, process_martyrium.md): the sale-betrayal and the killing that follows it.