In this article Vicki Ann Cremona traces the development of the complex process of montage used by Eugenio Barba for Ur-Hamlet, based on the oral tale Amleth, which Saxo Grammaticus included in his history of the Danes (circa 1216). Besides Odin Teatret, the project involved a large number of actors and musicians from Bali, Brazil, and Japan, and other participants and trainees with whom Barba had worked at the International School of Theatre Anthropology (ISTA). The author here recounts how the work was developed from different cultural perspectives, describing how the actors' physical scores were combined without their cultural specificity being modified in any way. Vicki Ann Cremona is an Associate Professor at the University of Malta, currently serving as Malta's Ambassador to Tunisia. Her co-edited texts include Costume in Malta: a History of Fabric, Form, and Fashion (1998) and Theatrical Events: Borders, Dynamics, Frames (2004). She updated, revised and edited Nicola Savarese's Eurasian Theatre: Drama and Performance between East and West from Classical Antiquity to the Present, translated from the Italian by Richard Fowler (Holstebro, Malta, Wrocław: Icarus Publishing, 2010).