The idea of merging western and Indian performing traditions through the performance of King Lear by a Kathakali company promised to be a viable experiment in intercultural practice – yet it proved entirely alien to Indian audiences initiated in Kathakali, and baffling when brought before the cosmopolitan throngs of the Edinburgh Festival. Here, Suresh Awasthi, former chairman of the National School of Drama in Delhi, analyzes the misconceptions which, in his view, fatally flawed the production – setting it within the context of its parent performance tradition, which permits development and change within a framework of basic thematic stability, but is unable to appropriate new texts. When, as in this case, the attempt is made, what results is a mistranslation of performance codes between two cultures. In the course of his argument, Suresh Awasthi provides a useful summary and analysis of traditional Kathakali conventions, and in conclusion describes some productions from the ‘classical avant-garde’ which have successfully explored an intercultural approach without detriment to either of the traditions involved.