Abstract:This essay focuses on the South Korean performance group Taroo's locally-oriented aesthetics in Pansori Hamlet Project (2014) as an alternative model to the notion of "Global Shakespeare" which presupposes intercultural spectatorship as well as intercultural practice. A natural corollary of this "global" discourse is overlooking smallscale productions and verbal genres such as pansori despite their artistic merit and cultural significance for the local audience. Taroo's pansori Shakespeare features four Hamlets who tell the story of the Danish prince with reference to Korean popular culture in local dialects. The pluralization and localization of the Shakespeare's melancholic hero transform Hamlet into a play of contemporary Korean young adults going through a difficult time together while recreating the traditional form of pansori as a popular genre they call "gugak musical." Taroo's pansori adaptation showcases a local Shakespeare that is not motivated by "bardolatry" or universalism underlying many intercultural Shakespeares but relies on indigenous language and music as a powerful vehicle of sympathy and renewal of tradition for the local audience.

中文翻译：

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潘索里哈姆雷特项目：塔鲁为当地观众创作的新潘索里莎士比亚

摘要：本文关注韩国表演团体太鲁在《潘索里哈姆雷特计划》（2014）中的本土化美学，作为以跨文化观看和跨文化实践为前提的“全球莎士比亚”概念的替代模型。这种“全球”话语的自然推论是忽视了诸如板索里之类的小规模制作和口头流派，尽管它们对当地观众具有艺术价值和文化意义。太鲁的盘索里莎士比亚以四个哈姆雷特为特色，他们以当地方言参考韩国流行文化，讲述丹麦王子的故事。莎士比亚的多元化与本土化 这位忧郁的英雄将《哈姆雷特》变成了当代韩国年轻人一起度过困难时期的戏剧，同时将盘索里的传统形式重新创造为一种他们称之为“国乐音乐剧”的流行流派。Taroo 的 pansori 改编展示了当地莎士比亚，其动机不是“bardolatry”或许多跨文化莎士比亚背后的普遍主义，而是依赖本土语言和音乐作为当地观众同情和更新传统的强大工具。