Theatre today speaks for a new type of cultural manifoldness, for a broad range of new differences that are developing. Creolisation is the intermingling of two or several formerly discrete traditions or cultures; it is an interweaving of similar and different threads of various colours, deriving from myths shared throughout the Mediterranean basin. Within such an understanding of culture theatre needs to speak out not only against domination but also needs to highlight the importance of marginality, otherness, and local contexts. It should not be hemmed in by literary-minded applications.As Benjamin Lee writes, “we have reached a time when no values from any single cultural perspective can provide frameworks adequate to understanding the changes affecting all of us”, which entails the decolonisation of cultural practices. We must think globally and act locally, be aware of universal myths, while remaining aware of the local circumstances and myths that surround us. In other words, a fruitful dialectical relation can ensue. In Slovenia, scholars often complain that, aside from specialists, nobody is “internationally” interested in local myths or national topics. This is not true: what is necessary is to find an appropriate way to present local or national topics within an international and global setting.