A comedy of alienation, estrangement, and magical metamorphosis – if ever there was a Shakespeare play made for the linguistic transfigurations of the Globe to Globe season it’s A Midsummer Night’s Dream. Unmoored from the familiar English text and cast adrift in a forest of mischievous Korean spirits, you couldn’t wish for livelier or more bewitchingly colourful guides than the actors of the Yohangza Theatre Company.

In his catalogue essay, Peter Osborne discusses the meaning of epithets such as “new” and “contemporary” when applied to current art, yet no one in this year’s New Contemporaries seems to be striving to make work that is “new”, “different”, “radical”, “challenging”, “avant-garde” or even “eye-catching” – to name just a few of the attributes supposed to make an artwork significant, relevant or desirable.

Director Bong Joon-ho watched Psycho as he prepared his latest film, one of the most discomfiting visions of mother-love since Norman Bates last ran a motel. There is Hitchcockian perversity, too, in Bong’s casting of Kim Hye-ja, an iconic Korean actress specialising in benign mothers, as a far more troubled maternal spirit. This nameless mother will do anything for her son, which feels like a threat as much as a promise, as Bong’s gothically atmospheric melodrama plays out.