AN

ADAPTER-PLUG GUIDE

TO

AUTISTIC ARTISTS
2

Overview
This document aims to provide insight
for Casting Directors, Producers, Actors,
Dancers, Singers, Stage Managers and
all those who work within the arts industry
as to how diversity and accessibility in the
arts can be achieved for people with ASD
(Autism Spectrum Disorder).

Goals

1. To outline ways in which autistic artists

face problems within our industry.
2. To provide ways in which this can be
amended with your assistance.

Disclaimer

This guide offers you a foundation of

understanding. Every autistic person is
different and consequently their access
needs will also change. Please speak
directly to the autistic creative you are in
contact with about their access needs –
some may not be included in this guide.
 3

Contents
THE CATCH 22 OF AUTISM AND THE ARTS 05

IN PERSON COMMUNICATION 08

MOTOR SKILLS/DANCE 10

SENSORY PROCESSING: COSTUMING/LIGHTING/SOUND 12

FAMILIARITY ACCESS 14

STIMMING/STIMULATORY BEHAVIOUR 16

AGENTS 18

DRAM SCHOOLS/TRAINING 20

TOURING 22
4

Introduction
In this guide Equity will aim to provide they track across it are the traits they may
you with an “adapter plug” approach to display in varying degrees and the access
autistic artists. We are using that metaphor needs they may need addressing.
because when each and every one of us
travels to a foreign country an adapter plug ASD is a neurodivergent spectrum
is the exact thing we need in order to make disorder. It falls under the larger umbrella
our appliances function as they usually of Neurodiverse which also includes:
would on our homeland. When it comes ADHD, Tourette’s Syndrome, Dyslexia
to accessibility in our industry it is much and Dyspraxia either alone or intersected.
the same. There are vast amounts of talent Though ASD can overlap with mental
within the autistic creative community that is health conditions – in and of itself it is not
underutilised and often times this is down to classified as a mental health condition.
a lack of adaptation and access for those The Term “Neurodiverse” is quite a broad
individuals and education on why they’re term. It covers a large bracket of individual
needed. disabilities. The reason the term has come
about is because many of these disabilities
It has been a common understanding for a do intersect with one another but must not
long time that the autistic spectrum is linear be confused for one another. You can have
with “not very autistic” and “extremely just one, you can have more. Neurodiverse
autistic” at opposing ends. This way of does not mean just autistic - that is one part
thinking about autism – although at one and one disability under the umbrella of
time popular – is now outdated. Autism neurodiversity.
in reality is much more like a giant colour
wheel and every single autistic person The term has also been used in an aid of
tracks across that wheel differently. Around self-identifying as it’s broader than simply
the outside of the wheel are the traits stating which disability you have.
autistic people display such as: Motor
issues, Executive function, Communication, This guide focuses predominantly on ASD
Sensory, Language and Perception. Where (Autism Spectrum Disorder)
each autistic person lands on that wheel as
 5

The catch 22
of autism and
the arts
6

Sadly, there is a lot of fear within the autistic and joy. The arts are also there as a form of
creative community about self identifying for education to the wider population on topics
fear of not receiving employment or losing that often get pushed to the fringes of society
current employment – though this sounds - so our place within that world is as valid as
shocking, It is a very true reality with mostly any.
inaccurate stigma to thank.
Autistic people don’t want more.
“If I don’t tell people I’m autistic I will be They want equity
treated as if I am not and therefore will trip
up and struggle massively” Before you read on - we wish to clear this
up: In any of the following suggestions - we
“If I do tell people I’m autistic I face an are not asking for more. We are asking for
existent stigma that may stop me getting the fair. It may seem as if we’re asking for more
job”. because autistic/neurodiverse access doesn’t
often get covered. These things can be
How does autism affect the necessary to put us on an equal playing field
performance world? with other artists.

One of the major sidekicks of autism can be Communication via email/online

creativity and ingenuity. They really do go
hand in hand with one another on a lot of As a casting director, producer, agent or
occasions (but not all). Autistic individuals manager it may not be unusual for you to
relate to the world in a very different way be approached by creatives – however
and so a means of creation is a fantastic and if approached by an autistic creative or
common outlet. Performance for some allows you approach them it is slightly different.
them the ability to jump out of their own There is an unspoken rule in our industry
world and into the life and time of someone that when communicating with a director,
else. It also allows them to experience the producer or casting director - there’s a
world through the eyes of others aiding them formula to follow (especially on first contact)
in learning about a society that often seems That involves lots of subtle grace notes
foreign to them. Performance can also be thrown in out of respect/business etc. This
a means of communication and relatability kind of communication is very advanced
to a neurotypical world in writing, drawing, and specific. If an artist who openly tells
directing and creating. Most importantly you they are autistic/neurodiverse doesn’t
however, autistic people want to be part of quite communicate with you in a way you
the creative performance world for the same would expect - don’t feel offended/unsure
reasons non-autistic (Neurotypical) people immediately. It is often a misunderstanding
do. Incredible talent lies in autistic artists for and communication issue that can seem to
they see the world through a looking glass come over rudely or directly. Socialisation in
that nobody else has access to and because the world is a very complicated and layered
this is a spectrum disorder - every perspective matter - however autism offers a different
of every person is different meaning there is view on the experience of processing such
so much on offer.  For many of us - the arts deep and complex structures of social coding
provide a means of outlet, communication in the way you may expect.
 7

8. Be willing to accept different

This can look like: forms of communication ie: Zoom,
telephone, AAC devises (*AAC
• Overly formal/Informal Device: Augmentative and Alternative
language Communication. These devices replace
• Overly long/Short emails or support human speech).
• Not immediately grasping the 9. Or BSL interpreters as well as different
task asked of them. response times to allow for cognitive
• Asking for further clarification. processing.
• Very direct written 10. Provide as much information and
communication. audition material as possible, if
• Going off topic. requested provide audition sides on
• Persistent emails due to lack of word documents that are amendable so
understanding. the creative can change colours of both
• A misinterpretation of your text and background to processing/
communication or instruction. reading reasons)
• A need for communication and 11. Inform them where the creative are in the
updates. process.
12. Allow as much turn-around time
Access as physically possible to allow for
processing.
As an industry professional here are some 13. If there is no material, state what kind
ways to make email communications, of material you wish them to actively
audition requests, meeting requests and self- look for to perform for you. Cut out any
tape requests more accessible: doubt.
14. Discuss any audition access needs that
1. Be as direct as possible informing the creative may have directly with them
creative what it is you need from them or around your specific audition, agency or
don’t need from them at all times. production.
2. Avoid vague language that insinuates
future conversation if it is not required ie: When casting specifically for autistic roles
“Speak soon”. please do not ask for “speak about yourself”
3. Be as specific as you can in your tapes without providing audition material and
instructions of tasks. character breakdowns. This is often far too
4. If emails persist, inform the creative it is vague and inaccessible. It can also give the
not needed or that you will contact them. illusion of vetting a certain “type” of autism
5. Be as specific as you can with dates/ for the role even if that isn’t the intention
times. Provide maps to auditions. (sadly this happens far too often). Sides and
6. Understand the unknown of auditions/ character description should be provided and
production can be difficult to process for if that isn’t possible, a very clear indication of
those with ASD and stick to your dates what it is you’re looking for in them including
and plans where ever possible to avoid and not limited to text type and wardrobe
changes in routine or precepted routine. choices.
7. Set boundaries where necessary.
8

In person
communication:
 9

In person communication:

In person communication relies on a lot of 4. Understand humour may be perceived

social cues from verbal to body language and given differently.
and facial expression. These can show as 5. Unless stated ok by the creative, avoid
different in autistic people. Avoidance of eye unconsented body contact including
contact, differences in perceived emotional handshakes.
range and tone, resistance to touch and 6. Accept and appreciate there may be
self-stimulatory behaviour are common a lack of eye contact – continue your
amongst many more. The way an autistic communication as normal and do not
person communicates is so unique to each of request eye contact or perceive lack
us that there is no hard and fast rule for what thereof as rude or inattentive.
to expect. 7. Accept and appreciate speech may
appear direct/blunt with or without
Access tone and pace changes.
8. Do not encourage the creative to
1. Have a conversation prior to meeting communicate in a way that is not
with the autistic creative about what accessible or suitable for them.
mode of in person communication 9. Adapt your communication only where
suits them best. For example they may necessary or requested. There is no
communicate through an AAC devise. need for you to change the way you
We are all different, the remainder of speak in tone, pitch and pace unless
this list may/may not apply dependant specifically asked for. Normalise/
on induvial as well as more. accept their possible self-stimulatory
2. Potentially avoid any indirect language behaviour.
– be as clear as possible.
3. Potentially avoid metaphors,
insinuations, idioms, similes.
10

Motor Skills/
Dance
 11

Motor Skills/Dance front row so they are closest to the

teacher and not caged in with other
One of the traits on the autism spectrum performers. Also allow them space if
is difficulty processing motor skills/ requested.
movement. This does not automatically 6. Where possible and if requested see
mean the autistic creative is unable to do that performer alone.
the choreography or movement piece – It 7. Avoid teaching with your back to the
just needs to be made more accessible and creative so they do not have to reverse
equitable. This can mean a variation of the mirror image in their minds.
choreography but often times is as simple as 8. Allow for out loud counting of dance
allowing more time to the autistic creative to steps and beat tracking (perhaps have
process the movement from mind to body. a soundtrack available without lyrics)
9. Break down eight counts into smaller
Access: more easily processed chunks.
10. Teach without any warmup soundtrack
Ways to make a dance/Movement call or distraction sounds for processing
more accessible: issues.
11. Be prepared to offer slight alternative
1. Provide a choreography early in video steps or adaptations. Avoid teaching
format. two choreographies at once ie: boy/
2. Allow the creative to listen to the girl.
soundtrack before learning the 12. Be approachable for questions and
movement or before attending the repeats.
audition to see if the music is suitable 13. If a routine requires partner work
for them with stimulation sensory issues or touch be sure to check if that is
and to allow cognitive processing of accessible with the creative prior to
the beats and track. audition.
3. In large dance calls/open calls allow 14. If fight choreography is required during
for noise cancellation headphones audition/production check with the
to avoid over stimulation. Allow for creative if that is accessible and teach
darkened glasses if requested due to in smaller blocking chunks if requested
bright lights in studios.
4. Be direct in your communication of the Sensory processing: Costuming/
choreography.
5. Position the creative at the end of the
12

Sensory
processing:
Costuming/
Lighting/Sound
 13

Lighting/Sound Access

Sensory processing/over stimulation to 1. Have a conversation with the autistic

lighting, sound and touch are all common creative about what/if anything
as our senses function on a different level to over stimulates them. This is so broad
a neurotypical persons as well as taking in and varied (ranging from none to
more/less of the environment around us at many in specifics) that it is integral
a different pace: This can manifest uniquely no conclusions are drawn without a
in each individual from discomfort inducing conversation. It is impossible for a
and not limited to physical pain, seizure guide to detail the personal needs of
and nausea to extreme levels of sensory each autistic persons sensory issues.
joy. Possibilities are unique to each person The following list is composed of
and vary greatly as follows amongst others: potential possibilities.
2. Discuss strobe lighting or fast pulsating
1. Difficulty Processing some fabrics and LED lights. Discuss neon and strong
costumes. reflective colours.
2. Difficulty processing some lighting 3. Discuss projection/mapping/special
(strobes in particular). FX
3. Difficulty processing overstimulating 4. Discuss and rehearse sudden/loud
bright colours. sounds in theatre/film.
4. Difficulty processing loud, sudden or 5. Rehearse sound drills where the
unexpected noises. creative hears the sound first alone.
5. Difficulty processing certain smells. 6. Trial lighting/sound designs with the
6. Difficulty processing certain tastes. creative present and adapt upon them.
7. Difficulty processing certain 7. Be open to an underlayer being worn
temperatures. under costuming concealed from the
audience.
Our brains process our senses differently 8. Be open to variations on costume
and so physical feelings of pain can occur design including but not limited to less/
through sight, sound, texture, smell and more body exposure to open air or
taste which can lead to autistic meltdowns/ different fabrics being used.
shutdowns. It is also common for Epilepsy to 9. Be open to alternatives to water at their
overlap with ASD in some cases. preference being drunk backstage
by the creative. Avoid strong smelling
foods and perfumes in rehearsall and
performance spaces. Any smells/
scents used during performances
should be discussed.
14

Familiarity
Access
 15

It is not uncommon for an autistic person

to need to see the environment they will be
working in prior to actually going there. This
is sometimes necessary in aid of planning
and processing the order of their day and
familiarising themselves with a particular
setting prior to being required to work in it.
The unexpected and the unknown are fairly
inaccessible.

1. If requested please provide a draft of

the set/location design if the creative
cannot physically or has not previously
seen the set/location. This mostly
applies to film and television but can
apply to new theatre productions too.
This can be as simple as a draft copy of
the design/location or a description of
what it will look like.
2. If it is not possible to provide a set/
location design or disclose that
information to a creative prior to
contract be open to giving even a small
description. I.e filming will take place
in Birmingham roughly twenty minutes
outside the city centre with transport
links available.

A good example is The Globe, who have a virtual tour of the theatre on their website:
https://www.shakespearesglobe.com/discover/about-us/virtual-tour/#virtual-tour-online
16

Stimming/
Stimulatory
Behaviour
 17

Stimming/ process as they authentically need to.

Stimulatory behaviour
Where possible provide a private area
Stimming of stimulatory behaviour is the creative can go to if they require/
basically a large burst of energy in our prefer privacy to stim or simply to process
bodies that sits on our chest and brains the environment they are in, go over lines
and suddenly has the urge to come out or go over what their next task is. These
as a processing aid of the world around environments may not be necessary
us. It’s a way of coping with the anxieties however if requested they are integral
and physically processing the environment access needs and a conversation must be
around us. When we say physical had in regards to that. It is understood not
processing – we mean actually processing all venues and productions can provide
the environment from brain down to body. such spaces due to size however anything
These behaviours may look involuntary is better than nothing.
to you as a fellow performer or director
or producer and they may also look Sidenote: Burnouts and meltdowns:
distressed. They aren’t always distressed
- they’re vital aids in processing a lot of Should an autistic person experience
feelings and thoughts coming out into one a meltdown or burnout in your work
physical action. Some stims are really un- environment allow them space and time
noticeable - others are really noticeable. away from the work in order to come down
Please don’t draw attention to them or see from it.
them as disturbing/stressed/uncapable. It is perhaps one of the most important
They’re essential bodily processing aids. parts of this guide to note that as different
as we all are – our needs in the situation
Access of burnout/meltdown differ greatly. This is
an access conversation that needs to be
Continue your communication as normal had including all meltdown trigger points
with the creative drawing no attention to and what to do if they accidentally are hit
the stimulatory behaviours they may be during audition or production. The idea at
displaying. Cast and crew alike should not large behind this guide is to create work
draw attention, copy, mimic or stare at these environments where such things do not
behaviours at any time nor should they occur.
be actively discouraged. All performance
environments should be made to feel safe
for the autistic creative to behave and
18

Agents
 19

Agents fit to be submitted for jobs and work.

This does not make them unstable or
The relationship between creative and unwell – it is part of access. Allow for
agent is of large importance within our these periods within your management.
industry. The jobs submitted for via Spotlight 5. Stick to reasonable time frames and
and other casting platforms rely on a strong turn around times as decided with your
bond between client and agent and a client. Even if the job is perfect for said
strong understanding on the part of the client – it may not be accessible for
agent as to the access needs of their client. them to turn around an audition within
twenty four hours due to a disruption in
Access their routine.
6. Advocate for your client in terms of
1. In meeting with autistic creatives access when discussing contracts with
enquire about access for your production companies. Know their
agency/communication but also for needs well or consider putting them
future jobs. in direct communication with said
2. Create a list with the client of things production company once audition/
they would like to avoid/go for based job is secured.
on their castability and access needs. 7. Most importantly – allow for those
3. Understand that your part as an agent conversations to be had. There is a
requires an understanding of them and huge fear about agents in the autistic
their autism. It is never appropriate to creative community and from research
go against a clients access needs or and experience – with good reason
comfort zones if they have clearly laid - surrounding “outing” themselves.
them out to you. Please assist in breaking down that
4. Accept that with an autistic client fear and stigma by allowing yourself to
there may well be times where they uniquely educated on them and their
experience autistic burnout and are not individual needs.
20

Drama
Schools/
Training
 21

Drama Schools/Training they can expect to hear back from

their audition as well as clear audition
Drama schools hold a lot of importance in breakdowns.
getting into the industry and it is integral that 3. Apply previous guidelines surrounding
those institutions become more accessible movement/dance calls where neces-
to the ASD community. The majority of sary or requested.
autistic creatives in the industry didn’t have 4. Apply previous guidelines with Access
the luxury of drama school training as those 5. Many drama schools already provide
spaces were inaccessible to them – it is the option to state disability upon
vastly important we work towards changing application – that option needs to be
that. there for access.
6. Specifics on what kind of monologue
1. Be open to email communication or or dance material you’re looking for.
communication prior to audition to 7. See the auditionee privately if possible
allow creative to feel comfortable and upon their request.
and ask about their access needs. 8. Inform the auditionee what kind of
Run through the proceedings of the clothes/what they need to bring to
day clearly in order to familiarise the the audition and if there is a space for
creative what to expect and aid in them to change.
processing and be adaptable to their 9. Allow for a space where possible for
access needs. the auditionee to be alone (see stim-
2. Lay out clear timelines as to when ming section).
10. If auditionee is accepted run through
housing/funding options with them
and what it is they can expect from
your school.
22

Touring
 23

Access (should the accommodation bedding

provide a sensory issue) and lighting
Please discuss with the creative before (small plug in lamps) should the
assuming and of the following access lighting in the accommodation be over
suggestions need to be met: stimulating.
• If requested and if possible allow the
• Discuss how the creative is to get from creative to arrive at the work location
venue to venue and if there is any way at an earlier time that is suitable to
you can assist with that. I.e booking them. It is often the case specifically
travel on their behalf. They may or may with theatre that the gap between
not need this. sign in and performance are not long
• Discuss all dates and locations with enough to allow for processing. If
creative. possible request that the creative can
• When booking travel discuss with go to the theatre greenroom earlier
creative if it is more accessible to them than the rest of the cast. This also aids
to have all travel arrangements upfront the creative in time management
or individually broken down and issues. It is far more likely to an autistic
dispatched for each leg of the tour. creative to be early than late. Naturally
• The same goes for booking hotels it is never appropriate to be late for a
or accommodations, ask if it is more performance.
accessible for them to have that • If requested familiarise creative with
information upfront or in chunks only tour staff prior to touring.
when needed. • If requested: Please provide the theatre
• With hotels and accommodations or location staff with the creatives
allow for the creative to have their own access needs. This can be done via the
room wherever possible. creative themselves if they wish to i.e.
• If requested provide hotel information a discussion with the stage manager
including photos, maps, addresses and themselves OR a discussion by the
links to the accommodation websites production on their behalf should
where ever possible so that the creative they prefer. With constantly changing
can check them out themselves with venues it is integral each venue can
software like Google street view. meet the performers access needs.
• Outline how far away from the venue • Provide this guide to each venue
accommodation will be and how it is and outline which areas of it are of
best to get to the work location. (The relevance with the creatives permission
closer the better). OR alternatively the creative
• Ask if the creative has any access themselves can provide a document
needs specifically centred around that is tailored to them.
accommodation. I.e.: Specific
bathroom requirements. Deciding if we’re right for a job
• Allow for creative to potentially bring with our autism
more luggage with them than expected
to allow for self-stimulatory objects When it comes to talent, look, height, acting
to be brought, replacement bedding delivery etc that is all your call and we
24

respect your decision as professionals in that isn’t a concept we’re often very good at.
manner. We are very aware that there are Our minds often work in binary a lot and
many jobs we are entirely wrong for and on a yes/no format. A no may take you a
those include jobs centred around autistic couple of extra moments out of your day as
characters. That is the industry we are in and a director and we appreciate that effort to
we entirely understand that concept. Please tell us no. Unlike some people who can move
don’t misunderstand or misjudge our actual on without an answer – we can struggle
ability. Please have faith that if you like what mentally with that a lot. A no is far kinder to
you saw our autism isn’t a reason to not hire our position than a silence. We accept no
us. If we auditioned and came to see you as well as we accept yes because although
it’s because we feel that we can do it and one connotes bad news and one good - they
we feel we can take on the demands the job both connote absolutes - something most of
entails – if those details are not yet available us work entirely in.
we may ask for them to be disclosed before
accepting a job offer. Please don’t decide Telling an autistic creative they
that our autism is going to cause us stress got the job
or difficulty in this job etc. That is something
entirely for us to decide. We are professionals It is important to understand that
- many of us highly trained - we know communication issues may affect all areas
ourselves better than anyone else could and of an autistic creatives communication
we don’t need those decisions made for us. including positive reactions. If a response to
What we need is a space to be ourselves a job seems either overly excited, entirely
and feel safe. Conversations surrounding underwhelmed, entirely overwhelmed or
access must be had. Some autistic people even stressed those things do not necessarily
will require no access needs met, others will connect directly to how the autistic creative
require multiple, it is integral to have those is feeling or their willingness to take the job
conversations on a person first basis. One or their ability to do the job. Normalise a
of the major goals of this guide is to provide difference in communication for the positive
enough of an education on autism that the as much as the negative.
community feel safe to disclose their access
needs – something we do not presently feel. Asking an autistic person who got
the job or is present if they think
Please let autistic artists know there’s anything that can be done
they didn’t get the job to help them with access

This is a tough one that sounds again like Please feel free to ask us about our autism
we’re asking for more when in fact we’re - that is ultimately the goal of this guide.
asking for fair. Most people can process We want to tell you. We want to make this
that not hearing from a professional means process as streamlined as it possibly can be
we didn’t get the job. Sadly - with some for you and for us. Always ask permission to
autistic people those two things don’t always inquire about a person’s autism first but many
connect on processing standpoint. We may of us are willing to tell you. Also feel free to
be holding out to hear from you because in say why our suggestions or questions don’t
our minds silence means maybe and maybe quite work within the project for practical
 25

reasons such as space, time, budget. We’re do not wish to take part in. Access needs can
going to appreciate those things and process be met on set and in a rehearsal room with
them a lot better if they’re explained -not all a cast – but they cannot always be met in
suggestions will work and we understand that the outside world of clubs, bars and social
but we do need to get to a place where we events. Trust in the creative to know their own
can make access suggestions and them be comfort levels and do not push them on it.
taken seriously and accommodated where
ever physically possible. Difference isn’t less
Remember every autistic artist is different and
is operating differently. Some of us may not Difference isn’t less nor is it more. It is different.
need anything made more accessible - but We don’t want more nor do we want less, we
some of us might. want equity. We want fair. Difference doesn’t
mean incapable. Difference doesn’t mean
On stage and off stage stressed or unstable. Difference doesn’t mean
differences liability or lazy. Difference means difference.

It is not uncommon for an autistic creative Why should I hire an autistic actor
to appear different in a production setting specifically for an autistic role?
on stage or in front of the camera than not.
This does not mean the autism is “gone” 1. Acting is acting but until autistic actors
or missing in those moments. Acting and are given the same equal platform as
creating for some dilutes autistic behaviours everyone else - the parts designed best
as the task or character becomes embodied. for us should go to us. Until we can list
We are after all actors and very good ones theatre stars and film stars by the bucket
at that due to a history of masking our autism load who’re autistic we really should be
to blend into neurotypical society. Many of giving the people who know the topic
us do this every day and have even been matter through lived experience the best
conditioned to do so. Stimming may decrease the chance to show it and represent it to
and the appearance of “Neurotypical” our wider community and yours.
may often be presented during acting and 2. Nobody can mimic autism as well
creating. This is because acting for many of as an autistic person can. It is simply
us provides a way as previously stated of a biological impossibility that a
embodying a different person and a different neurotypical brain can process an
world as it does for any other actor. It also Autistic or Neurodiverse thought pattern.
aids in processing. When giving direction or 3. Casting non diversely for these roles
communication please remember that though often leads to negative and misinformed
the actor may be “masking” as neurotypical stereotypes that further feed back into
for the part, they are still autistic and their general society creating the wrong idea
access needs still stand. about autism.
Outside of the workplace it is not uncommon 4. Not hiring us in roles about us keeps
for social situations to arise (even within the autistic actors out of work more so than
workplace such a press nights etc). Please do needed and adds to the large 78%
not force or peer pressure autistic creatives unemployment demographic for the
into situations outside of the work place they autistic community across all sectors
26

(Data from office of national statistics) open to the nonspeaking autistic community.
5. Your project about autism will shine so Why not give them the opportunity to be
much brighter for actually involving involved in your silent theatre or film project
autism. because communication without words is
6. We’re equally as talented as other something they know so well and are so
actors, we’re just not given the same good at? Autistic people have access to a
chances. lot of worlds that neurotypical people do
7. If you believe your project about not so in turn - we have access to creating
autism isn’t accessible to autistic actors really vibrant art with that even if the plot/
you have to ask yourself if you’re character isn’t directly centred around autism.
really creating a positive project or a
misinterpretation of a disability. If your A minority within a minority/
film/play is about autism and yet the Intersectionality
hundreds of autistic artists that come
forward to you are not able to do the Autism is not specific to any race, gender,
task.. Is your show really about autism? religion or sexuality. It can also be
8. Your voice is very valid in all that accompanied by other disabilities. It is
concerns you - but it isn’t valid in all that vastly important as we move toward more
doesn’t. We need to strip back this idea narratives focusing on Black, POC, LGBTQ+,
that non minority groups can “Speak Trans stories that the disabled and autistic
for” minority groups and that their words communities are not forgotten in those
are equally valid. They are simply not spaces. Disability can be intersectional as
more valid. We don’t need speaking much as it can’t. The default for autism has
for - we need to speak. Speaking long been “Straight white male”. This is simply
doesn’t always mean with words, it can a myth and we need to actively encourage
mean with writing, directing, acting, more disabled stories from minority groups
mime, dance. Speaking is with the and diverse racial backgrounds going
purest energy whatever makes you forward.
authentically you. Autism but not the focal point.
Roles where the character is just autistic by
It is never appropriate but often done to chance need to be introduced more. Where
place a puppet or dummy in place of an autism isn’t the talking point. It isn’t the driving
autistic actor in these roles. Please refrain force of the plot. Similarly we should not be
from this deeply insulting and troublesome vetting the content autistic actors perform in
loophole in production. terms of genre i.e. Horror or scenes involving
sex. It is common that the topic matter and
Pushing it further than autistic the roles specifically for autistic people shy
roles away from anything that is considered taboo
or adult. This is infantizing. As long as the
There are many roles that are not necessarily story is dealing with autism correctly or the
autistic roles but are for example: Dance, non autistic actor is comfortable there is no reason
speaking roles, or even puppetry that could why an autistic character can’t be a central
involve a larger amount of autistic talent with love interest with adult scenes or take part
diverse access needs. These roles need to be in a horror movie narrative. This was done
 27

exceptionally with a deaf actor in “A Quiet • Sensory Overload

Place” in 2018 and wonderfully by autistic • Autistic Burnout
actor Sir Antony Hopkins in “The Silence Of • Motor issues
The Lambs” 1991. • Language processing
• Executive function
Terminology • Process
• Non – Verbal, Non Speaking.
All terminology is subject to the autistic person [Dependant on individuals preference]
you are with/employing. Their preference • Access needs
matters above all however there are some
suggestions of what not to use vs what is But maybe check first.
more appropriate by the community at large:
• Asperger’s Syndrome (Many still identify
NO with this term – it is however no longer
• High Low Functioning Autism used or diagnosed professionally by
• Person With Autism the NHS or otherwise due to the dark
• Suffers From Autism historical and anti-Semitic connotations
• Differently Abled of Doctor Hans Asperger).
• Special Abilities • Neurodiverse (This is totally acceptable
• Special Needs but it is a wide field covering lots
• The R Word of different disabilities. They can
• Specially abled often overlap. If a person speaks of
• Any alternative way of saying disabled. themselves as just autistic – It is best to
• Any slur or comparison to popular use just that)
culture autistic characters ie: Rainman. • Atypical NAtypical (Personal
• Mute/Speechless preference)
• Mental Health (Autism is not a mental
health condition. Mental health is vastly It is never appropriate to ask for proof of
valid and important and can intersect medical diagnosis of any neurodiverse
but do not assume an autistic person condition for a multitude of reasons from the
also has any mental health conditions) very simple privacy element through to the
fact that many ND people are not officially
Any language that insinuates or links to diagnosed through difficulty accessing the
spectrum or mental health disorders ie: systems but have diagnosed themselves
describing the weather as bipolar or using where those systems failed them.
autism or any other condition as an adjective.
“I’m very OCD about ___” etc is simply not ALL INFORMATION IN THIS GUIDE
ok language in any environment. ACTS AS A FOUNDATION FOR
UNDERSTANDING. PLEASE APPROACH
YES AUTISTIC PEOPLE YOU WORK WITH
• Autistic Person BEFORE ASSUMING THEY NEED ANY
• Disabled THESE ADAPTATIONS MADE.
• Stimming (or to stim)
• Autistic Meltdown
28

Acknowledgement

Equity would like to thank the wide and

diverse group of artists with Autism Spectrum
Disorder (ASD) for collaborating in writing
this guide. Similarly, Equity would like to
thank JJ Green for leading this work and
providing significant time and effort in
co-ordinating the publication and
dissemination of this guide in liaison with
Equity staff and the union’s Deaf and
Disabled Members Committee (DDMC). We
thank also Natalie Amber and Dan Edge of
the DDMC for their insight and expertise in
contributing to the guide.