Abstract
How is authenticity evaluated and assessed in a hybrid intercultural Shakespeare performance? The Yohangza theatre company's A Midsummer Night's Dream, staged as part of the 2012 Globe-to-Globe festival, typifies intercultural hybridity and challenges our understanding of Shakespeare, originality and authenticity by highlighting different engagements with Shakespearean performativity. This production demonstrates how the performativity of authenticity exposes the complex and often complicated processes of producing and presenting Shakespeare and cultural identities on an intercultural stage. The analysis of Yohangza's Dream is aimed at interrogating and reconceptualising existing notions of authenticity. The study of authenticity in this Korean Shakespeare production aims to not only illustrate how authenticity functions, but what it means in and to intercultural performance.
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