莎士比亚戏剧曾经像文化罗盘一样,指引着数代“白人”殖民者,从象征意义和地理上为他们指明了方向:“北方”——英国。然而,莎士比亚又将如何指引当代新西兰人(纽西兰白人,毛利人及其他人种)在21世纪的新航行呢?莎士比亚一直是新西兰舞台上作品演出最多的剧作家,而且是唯一一个以节日命名专门上演其作品的剧作家。但是英国的文化吸引力已大不如前,如今,在某种意义上,莎士比亚的地位已发生两级分化,他的戏剧在中学课程是该减少还是该直接取消,在最近的争辩中日趋明显。新西兰人会将莎士比亚戏剧视为过去殖民地的遗产,还是将其作为“自身”文化不可或缺的一部分?他们会在海外寻找“真正的”莎士比亚,还是会找寻属于自己的新航向?在定义他们与莎士比亚的关系的同时,他们又会如何重新定义自己? Shakespeare’s plays, like cultural compasses, guided several generations of “white” colonizers, pointing them both symbolically and geographically: “North” - England. However, how will Shakespeare direct the new voyages of contemporary New Zealanders (New Zealanders, Maori, and others) in the 21st century? Shakespeare has been the dramatist who performed the most on the New Zealand stage and is the only playwright Named playwright devoted to his work. However, the British culture has become less attractive. In a certain sense, Shakespeare’s status has been split between two levels. The extent to which his plays are reduced or canceled in the middle school curriculum has become increasingly evident in recent debates. Will New Zealanders see the Shakespearean drama as a legacy of the past colonies or as an integral part of their “own” culture? Will they look overseas for “real” Shakespeare or find their own new course How will they redefine themselves while defining their relationship with Shakespeare?