Shakespearean performance criticism has undergone a sea change in recent years, and strong tides of discovery are continuing to shift the contours of the discipline. The essays in this volume, written by scholars from around the world, reveal how these critical cross-currents are influencing the ways we now view Shakespeare in performance. Essays are divided into four groups. The first group interrogates how Shakespeare continues to achieve contemporaneity for Western audiences by exploring modes of performance, acting styles, and aesthetic choices that are regarded as experimental. The second group tackles the burgeoning field of reception: how and why audiences respond to performances, or actors to the conditions in which they perform; how immersive productions turn spectators into actors; how memory and cognition shape and reshape the performances we think we saw. The third group addresses the ways in which technology has altered our views of Shakespeare, both through the mediums of film and sound recording, and through digitalizing processes which have caused a profound reconsideration of what performance is and how it is accessed. The final group grapples with intercultural Shakespeare, considering not only matters of cultural hegemony and appropriation in a ‘global’ importation of non-Western productions to Europe and North America, but also how Shakespeare has been made ‘local’ in performances staged or filmed in African, Asian, and Latin American countries. Together, these groundbreaking essays attest to the richness and diversity of Shakespearean performance criticism as practised today, and point the way to critical continents not yet explored.