Time sharing on stage compares theatre texts to apartments where tenants make considerable changes to their living quarters. Translated theatre texts are therefore studied in relation to the ‘tenants’ – theatrical producers – who have responded to various codes in the surrounding societies in their effort to integrate these texts into a socio-cultural discourse of their time. Different modes of integration, expressions of reverence or subversion, have generated endless chains of texts, born of other texts, and redecorated by their various tenants. The line between writing and translating has at times become so blurred that instead of originals and translations we have a multitude of texts which can be used to serve many. Time-sharing on stage argues that translation comprises inherently egotistically motivated strategies which can only hope to produce cultural hybrids.