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This presentation inquires into the implications of the so-called intercultural Shakespeare, examining Tae-rin Kim’s Romeo-The Ssitgim. This production creates the imaginative world of afterlife, conjuring up the ghosts of main characters in Romeo and Juliet to retell their sad story. It successfully takes elements from Korean traditional performance arts such as dance and pansori (song) in order to adapt Shakespeare’s original play. Kim’s version shares similar characteristics with other staged performance of Shakespeare’s play and Koreanized Shakespeare adaptations. Kim’s production with a successful fusion of Shakespeare’s play and artistic and dramatic quality of Stigim-gut (traditional ceremonial performance to solve the conflict between a dead person and his/her family) shows that there is an obvious gap between balancing the use of Korean elements for global audience with the popularization of Shakespeare for local audience. However, what is significant in his experiment is that there is also possibility of making Koreanized Shakespeare to solve social and psychological conflicts of local audience, not merely popularize Shakespeare using his global currency. Kim’s production re-lightens the potential of gut performance as a cultural content without loss of its social functions and Shakespeare’s complex psychology reflected in this play.
