This chapter examines the performativity of Korean shamanism as a distinctively female practice in Uruwang by The National Theatre of Korea (directed by Kim Myung-Gon, 2000) and Hamlet by Yohangza Theatre Company (directed by Yang Jung-Ung, 2009). While Yohangza’s Hamlet closely follows Shakespeare’s storyline, Uruwang is performed in the style of Changgeuk (Korean opera performed in the style in pansori, a traditional form of musical story-telling) and portrays the trials of Princess Bari, who becomes the first Mansin (female shaman). The comparative relationship between these Korean adaptations emphasises the roles of female characters as social and spiritual agents within their communities. Korean shamanism, a predominantly female practice, bridges between the human and spirit worlds through Gut (rituals performed by Korean shamans). These performances emphasise the gendered nature of Korean shaman practice, shaping the intercultural and affective reception of female characters and the presentation of female agency. This chapter also proposes new perspectives on the “Koreanisation” of Shakespeare, particularly by reading the affect of Han (deep grief or resentment borne out of the particular history of Korea) interculturally.