Through Heiner Müller’s text on theatre as necromancy, Sabine Schülting describes how Shylock appears on German stages after World War II as a ghost of the past. On post-war stages, Shylock appears as an eerie revanchist, alluding to the Shoah and placing it in a field of tension between past and present, remembrance and forgetting, guilt and forgiveness, without promising redemption. Shakespeare’s Hamlet, as described by Schülting, gave the Germans the opportunity to redefine themselves using the tragedy as a projection surface. The figure of Hamlet offers, notably, an intellectual detachment, tending towards self-righteousness, from the sins of fathers and uncles with whom one thinks one has nothing to do. Shylock, by contrast, proves to be inseparable from the tradition of anti-Semitism and the memory of the Shoah. Schülting uses Georg Tabori’s 1978 staging and Kortner’s 1968 portrayal of Shylock to describe how the problematic figure of Shylock appears in the post-1945 German stage adaptations of The Merchant of Venice. Schülting then shows how, in addition to the memory of the Shoah and the confrontation with German anti-Semitism, new themes have emerged in contemporary productions of The Merchant of Venice: in particular, debates on globalisation, migration, terrorism, and cultural integration in a multi-ethnic society.