本研究旨在顯示在聖文森及格瑞納丁（SVG）的中學階段採用聖文森克里奧爾語閱讀以及教授莎士比亞的戲劇，有助於學生以後殖民的觀點閱讀戲劇，並凸顯SVG群島的文化身份。在第一章中，我回顧了閱讀和教授莎士比亞時所面臨的問題和方法。研究結果顯示，只有少數加勒比地區的教育工作者使用後殖民主義視角來閱讀和教授莎士比亞。最具啟發性的閱讀和教學方法著重凸顯戲劇的社會歷史背景、加勒比文化或加勒比海語言。我提議聖文森的教師可以將戲劇的社會歷史政治背景與聖文森的語言和文化結合，在演出中呈現。
在第二章中，我參考了Paula Prescod和Adrian Fraser、Peter A. Roberts以及Viveka Velupillai的論點，討論了聖文森克里奧爾語作為一種日益崛起的社會歷史、文化和教育資源的價值，並主張在中學階段使用聖文森克里奧爾語來閱讀和教授莎士比亞的戲劇作品，有助於加強聖文森及格瑞納丁的文化身份和語言多樣性。我揭示了聖文森克里奧爾語在莎士比亞教育中目前處於次要地位，因為仍有太多教育工作者對克里奧爾語持有負面觀點。我參考了約翰·德萊登 (John Dryden) 的翻譯理論中對意譯的看法，以及佐藤-羅斯伯格娜娜（Nana Sato-Rossberg）關於口述社會和文化中的翻譯理論，創作了一份口述表演劇本，以聖文森克里奧爾語詮釋和意譯了《威尼斯商人》第四幕第一場第一至十三行的文本。
在第三章中，我試行了「後殖民表演方法」，以聖文森克里奧爾語閱讀和教授莎士比亞的悲喜劇《威尼斯商人》。通過對該劇的文本分析，我強調聖文森克里奧爾語的詮釋和意譯可以協助學生理解夏洛克作為「他者」的位置。從四位聖文森人對我的抽樣詮釋和意譯的評論中可以看出，聖文森克里奧爾語在語言上擁有多元性，因此在聖文森克里奧爾語中詮釋和意譯莎士比亞的方法並不僅僅只有一種。
我以討論聖文森教育工作者和作家對使用聖文森克里奧爾語閱讀和教授莎士比亞的戲劇可能產生的問題總結此篇論文。這幾位聖文森人認為，採用聖文森克里奧爾語詮釋和意譯莎士比亞的作品將使這些戲劇脫離其原有的歷史和文化背景，但我提出，若教師能在聖文森克里奧爾語詮釋和意譯中納入每部作品的社會歷史背景，這個問題就可以克服。

This thesis suggests to use Vincentian Creole in a “postcolonial performance approach" to read and teach Shakespeare's plays at the secondary school level in Saint Vincent and the Grenadines (SVG) to help students read the plays from postcolonial SVG perspectives and to highlight the archipelago's cultural identity. To support this suggestion, in Chapter One I review the problems and methods in reading and teaching Shakespeare. Research findings reveal that only a small cohort of Caribbean educators use postcolonial perspectives to read and teach Shakespeare. The most inspiring reading and teaching methods place central emphasis on foregrounding the sociohistorical contexts of the plays, Caribbean cultures, or Caribbean languages. I propose that Vincentian teachers could connect sociohistorical political contexts of the plays with Vincentian language and culture in their performance approaches.
In Chapter Two, by referring to the arguments of Paula Prescod and Adrian Fraser, Peter A. Roberts and Viveka Velupillai I discuss the value of Vincentian Creole as a rising sociohistorical, cultural and educational resource to suggest that using Vincentian Creole to read and teach Shakespeare's plays at the secondary school level could help to strengthen SVG's cultural identity and linguistic diversity. I reveal that Vincentian Creole currently plays a subservient role to Standard English in Shakespeare education because too many educators still have negative views about creoles. By referring to John Dryden's translation theory of paraphrase and Nana Sato-Rossberg's theory on translation in oral societies and cultures I create an oral performance script that loosely interprets and paraphrases lines 1 to 13 of The Merchant of Venice Act 4 Scene 1 in Vincentian Creole.
In Chapter Three, I test out the “postcolonial performance approach” to read and teach Shakespeare's tragicomedy The Merchant of Venice in Vincentian Creole. Via textual analysis of the play I emphasize that Vincentian Creole interpretation and paraphrase could help students understand Shylock's position as the other. The comments I received from four Vincentians on my sample interpretation and paraphrase show that Vincentian Creole is linguistically diverse and there is more than one way to interpret and paraphrase Shakespeare in Vincentian Creole.
I conclude this thesis with a discussion on Vincentian educators' and writers’ concerns about using Vincentian Creole to read and teach Shakespeare's plays. These Vincentians claim that Vincentian Creole interpretations and paraphrases of Shakespeare will remove the plays from their original historical and cultural contexts, but I propose that this problem can be overcome if teachers could include every play's sociohistorical contexts in their Vincentian Creole interpretations and paraphrases.

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