carnival or Shrovetide play that emerged in the 15th century as the first truly secular drama of pre-Reformation Germany. Usually performed on platform stages in the open air by amateur actors, students, and artisans, the Fastnachtsspiele consisted of a mixture of popular and religious elements—broad farce and abbreviated morality plays—that reflected the tastes of a predominantly bourgeois audience. The plays often contained satirical attacks on greedy clergymen, doctors, lawyers, Jews, robber knights, and other traditional targets of the German burghers, an element that relates them, though distantly, to the Feast of Fools (Fools, Feast of) (a medieval festival during which ecclesiastical ritual was parodied) and the French sotie. Many plays were also ribald in nature, particularly in their depictions of battles between the sexes, in which a quarreling husband and wife would try to outdo one another with shouted obscenities. In addition to features borrowed from liturgical drama and bits of comedy that were no doubt brought in by the wandering minstrels, the Fastnachtsspiele, according to many scholars, contain themes and influences from German folk traditions of the pre-Christian era.

Hans Rosenplüt of Nürnberg and his younger contemporary, the barber Hans Folz of Worms, who also settled in Nürnberg, were the most notable Fastnachtsspiele playwrights in the mid-15th century. Their plays were formless, uninhibited comedy, usually featuring the traditional character of the Narr, or fool, in the leading role. In the 16th century the plays reached a level of greater respectability when Hans Sachs (Sachs, Hans) wrote many Fastnachtsspiele among his 208 plays. He is also said to have directed and acted in them. Jakob Ayrer (Ayrer, Jakob), who was highly influenced by the style of the Englische Komödianten, was the last prominent purveyor of the form.