How do changes in the perception of the arts stemming from activism, government policies, precarity and the ongoing crises unfolding in the world affect the autonomy of the artist? In this article, I analyse three cases of young and emerging theatre makers in Flanders and Brussels that each deal with the economic, social precarity of the arts, as well as the general precarious state of the world. Camping Sunset, Ne Mosquito Pas, and Anna Franziska Jäger and Nathan Ooms each explore new ways of maintaining autonomy, be it by collective collaboration, creating a network and an aesthetics of failures and cynicism or a performance of overpositivity and a revaluation of the comic. My claim is that these artists find autonomy in the ‘making’ of a work itself, placing poetics back at heart of artistic work instead of performance. I argue that their poetics can be described as a poetics of inoperativity (Agamben), which places resistance and criticality on the level of making theatre and performance itself instead of making large societal claims.