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ETHICS CHARTER
NO SUCH THEATRE

  • NST holds to principles of radical equality in our work. We are committed to practices of genuine, holistic access through conscious attunement to the imperatives of diversity and inclusivity – such that our work can reflect the myriad voices and perspectives that comprise our common life. This extends to the incorporation of neurodiverse performance/rehearsal methods into our work; access-integrated performances; a commitment to diverse casting and recruitment processes; and socially-conscious pricing models.

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  • NST is equally committed to sustainable theatre practice. Which means an absolute minimum of single-use or disposable design materials; a focus on recycled and repurposed material; and an awareness of which institutions we’re partnering with or supporting.

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  • NST don’t buy anything from Amazon. Or any exploitative source. We are committed to providing ourselves with the time, space and resources to build our work not just sustainably, but ethically as well.
    Furthermore, Jeff Bezos can go and fuck himself.

 

  • Within the company, we are aspiring either towards democratic co-operative enterprise or equity salaries – whichever we are able to sustain. We stand against economic exploitation of any kind, inside and outside the arts industries.

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  • Any NST project operating as co-operative profit share will have:

    • A fully costed budget – including profit breakdowns at various percentages of sales – available to all participating creatives prior to any contract being signed

    • A no-judgement withdrawal policy prior to any contract being signed

    • Democratic discussion and consultation regarding any changes to the budget during the project which would substantially affect the profit-share equation.

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  • NST believe that artists do their best work in spaces that are collaborative, kind and democratically-minded. We want to be gutsy and dauntless and look uncomfortable things in the face, but we want to do this from a position of solidarity and empowerment. We have committed to comprehensive safeguarding structures and procedures designed to give everyone a stake in building an ethical working environment. No one is above reproach, and we don’t tolerate exploitative behaviour.

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  • Audiences are most receptive when they have agency and control over their engagement with the live event. We’re not here to build an anodyne or comfortable artistic space, and being discomfited is a good thing. But audiences should be able to shuffle, tick, react, and enter or leave the space whenever they need to without judgement.

NO SUCH THEATRE

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