Аннотация
This article continues the comparative study of stage interpretations of William Shakespeare’s tragedy Hamlet and explores the intercultural dialogue between the theatres of the United Kingdom and Kazakhstan during the period from 2000 to 2024. The aim of the research isto identify artistic connections and conceptual parallels between British and Kazakh directorial approaches, as well as to analyze new interpretations of Hamlet, actor training methods, and the creation of dramatic imagery. The objectives include tracing the evolution of scenic forms in both traditions, examining the philosophical and cultural contexts embedded in directorial strategies, and conducting a comparative analysis of visual language and translation techniques. The methodological framework is based on comparative, hermeneutic, and cultural-critical approaches, along with tools of stage and visual analysis. The study focuses on six productions of Hamlet: three from the RoyalNational Theatre in the UK – directed by John Caird (2000), Nicholas Hytner (2010), and Lyndsey Turner (2015); and three from Kazakhstan – the Mukhtar Auezov Kazakh National Drama Theatre directed by Yuri Khaninga-Beknazar (2004), the Republican German Drama Theatre in Almaty directed by Jeff Church (UK, 2016), and the ARTiSHOK Theatre directed by Galina Pyanova (2018). The Britishproductions were analyzed through video recordings, theatre reviews, and publications in The Guardian, Theatre Record, and other sources. The Kazakh productions were studied through direct viewing, interviews, theatre programs, and print and archival materials. The findings reveal key artistic strategies employed by the above-mentioned directors: psychological realism, political allegory, postdramatic deconstruction, and interactive verbatim formats. Despite the influence of global theatretrends, Kazakhstani productions preserve their cultural autonomy by reinterpreting Shakespeare’s text through national poetics, language, and symbolic systems. The results of this research may serve future studies in global Shakespeare reception, enrich university theatre curricula, and support interdisciplinary scholarship in the fields of performance studies and cultural theory.