The aim of this thesis is to develop the theory on the aesthetic contract (relationship between space, artist and audience) to understand eco-theatre and its art production process. The aesthetic contract, as defined by Pick, refers to “continuously bringing together, in the best possible circumstances, the best work of art with the best possible public.” This theory can be applied to various forms of artworks but there are gaps in the application of this theory in the subject of eco-theatre. Eco-theatre as an art form works on the ethos of collaborations, storytelling and its thematics in ecological principles. This exploration in the research is done so as to better understand the nuances involved in eco-theatre-making as compared to other forms of traditional theatre. Using Extinction Feast by Practice Tuckshop as a case study, the research shows what the current practices in eco-theatre are in the context of Singapore and what direction Singaporean eco-theatre artists are moving towards, from initial conceptualisation to the final performative work. The significance of this study lies in informing our understanding of the omni-presence of environmental issues in our daily lives by providing a different perspective on art-making and theatre-making.