This doctoral thesis proposes an ethics of intercultural theatre, offering a materially engaged framework through which to approach both the problematics and positive potential of intercultural practice. Framing intercultural debates in terms of rights of representation, it suggests that the right to represent Othered people and cultures can be strengthened through 1) involvement of members of all represented cultures, 2) equality and creative agency of all collaborators, 3) advantageousness of a given project to all involved, and 4) positive socio-political effects of a production within its performance contexts. Working through four diverse case studies - Tim Supple's A Midsummer Night's Dream, Pan Pan Theatre Company's The Playboy of the Western World, Peter Brook's 11 and 12 and Bisi Adigun and Roddy Doyle's The Playboy of the Western World - this project uses a Bourdieusian theoretical framework to flag elements of contemporary intercultural practice that strengthen and weaken rights of representation. It recognises that Orientalist and Eurocentric modes of representing Otherness still require address; equally, it points to laudable working practices, moving towards a pragmatics of best intercultural theatre practice.