This chapter explores how intercultural feminist perspectives and non-naturalistic performance styles redefine female subjectivity in two adaptations of Shakespeare’s plays, advocating for a more comparative understanding of gender in global Shakespeare performances. Othello in Noh Style (directed by Miyagi Satoshi, 2005) and Lady Macbeth (directed and written by Han Tae-Sook, 2010) disrupt the linear chronology of Shakespeare’s plots to highlight the female characters’ memories and perspectives. Othello in Noh Style uses the aesthetic and philosophical principles of Noh, traditionally an all-male performance form, to bring Desdemona’s spectral form on stage, as she recounts her story to a Pilgrim. In Lady Macbeth, the performance of the titular character’s memory takes place through interactions with the Royal Doctor and three Servants as well as through Han’s distinct mode of object theatre. The performance of female embodiment and memory in in non-naturalistic contexts in these productions generate new insights into Shakespeare’s female subjects that go beyond the framework of an individual performance culture or context. Moreover, the presentations of Desdemona and Lady Macbeth on stage challenge binary victim-perpetrator narratives, allowing new interpretations of trauma and agency to emerge.