This article analyzes Suzuki Tadashi’s version of Euripides’ The Trojan Women, staged multiple times during the past forty years. While this cross-cultural production carries specific socio-cultural signs and juxtaposes different traditional Japanese styles (Noh, Kabuki, and Shingeki), it aims to create a third object that does not belong specifically to any of these traditions but is composed of the sum of their specificities. It argues that The Trojan Women was created by Suzuki and his company as a response to the state of culture and society in Japan during the 1970s, breaking with old and new fashions in an effort to revitalize Japanese contemporary theatre. Offering a socio-cultural analysis and drawing on the writings of Michael Bakhtin and Pierre Bourdieu, it sheds light on Suzuki’s humanistic quest for a universalism pursued through the re-discovery and transformation of traditional styles together with an appropriation of Western texts. Lorenzo Montanini is a theatre director whose work investigates the boundaries of theatre and live performance in a multicultural context. He has taught for more than fifteen years in universities in Italy, including RomaTre, Università di Macerata, and Università l’Orientale di Napoli.