Shakespeare's Myriad-Minded Stage: Propositional Spaces of Cultural Hybridity The concept of hybridity is predicated on an assumed notion of purity, fixity or clarity. Arguably, this is profoundly ingrained in logocentric epistemologies that assert such cultural constructs as the unity of a text, authorship, ownership, or an identity of sorts. Martin Procházka's and Zoltán Márkus's essays in this issue theorise the complexities and faultlines of Shakespearean hybridities and the queestions of appropriation and appropriability in a textual and authorial sense (Procházka), and in a cultural and specifically postcolonial one (Márkus). Complementing their approaches, this essay aims at capturing a different type of hybridity – one that takes place in the very moment of performance in the act of the audience's perception and understanding the play. On the example of Shakespeare's plays, this essay addresses the question of (i) truth value and fiction in performance, elaborating on the notion of theatrical reality; (ii) the propositionality of the stage as a space and as action; and (iii) the shift in performance as an oral medium from logocentric textuality to social interaction arguing that the epistemic basis of performance is not the spoken word but human interaction as social facts. This approach introduces hybridities of a different kind.