Practical Talent Development Program 'STAGE for ALL 2026' to Enhance Accessibility in Performing Arts

Cultivating Professionals in Performing Arts Accessibility Through Practical Collaboration with Two Domestic Productions

Precog Inc. (Shinjuku-ku, Tokyo) will host the practical talent development program 'STAGE for ALL 2026' as part of the Agency for Cultural Affairs' commissioned project, 'Fiscal Year 2026 Promotion of Cultural and Artistic Activities by Persons with Disabilities.' The program targets individuals involved in planning, producing, and managing theater operations.

Growing awareness of accessibility in the performing arts field—driven by the amendment to the Act on Elimination of Discrimination against Persons with Disabilities, which mandates the provision of reasonable accommodations—has increased demand. However, there remains a limited number of professionals capable of planning and managing accessibility services such as audio description, subtitles, and sign language interpretation, as well as limited opportunities to learn these practices.

'STAGE for ALL' was launched last year to address these challenges. Targeting a wide range of professionals in the performing arts sector, the program aims to cultivate talent who can creatively consider and implement 'how and to whom artworks are delivered,' through dialogue with practitioners and exposure to domestic and international practices.

In 2026, the program will collaborate with two domestic productions, allowing participants to learn accessibility planning and operations in real performance settings. Additionally, joint research with experts will investigate advanced international cases, with findings disseminated through public lectures.

Comment from Akane Nakamura, Representative / Performing Arts Producer, Precog Inc.

Since around 2019, we have been actively practicing accessibility and information support in the arts. Although it has been less than seven years, this period coincides with the widespread dissemination of foundational knowledge and expertise in Japan and the beginning of infrastructure development. Each year, we have updated our insights while accumulating new technical and conceptual challenges.

Accessibility and information support are deeply intertwined with creators and their works, extending from creative activities. There is no single 'correct' solution; instead, we continuously accumulate knowledge through trial and error. We also place importance on the question of how to evolve these initiatives beyond superficial majority-driven considerations into fairer practices co-created through dialogue with stakeholders.

We hope that by widely sharing these experiences, thought processes, and practical methods, not only audience experiences but also creative environments themselves will transform.

Features of STAGE for ALL 2026

1. Practice-Based Program: Learn Accessibility Planning and Operations in Real Performance Settings with Two Domestic Productions

The program is open to a broad range of professionals involved in the performing arts, including producers, theater staff, stage technicians, accessibility coordinators, artists, actors, and dancers.

Participants will experience the entire process—from pre-performance discussions to on-site operations and post-show reflections—within actual performance environments. This is a rare program in Japan that deepens understanding of accessibility design and operational challenges through hands-on experience.

2. Dissemination of Advanced International Practices Through Public Lectures

In collaboration with experts, the program conducts interviews and surveys with cultural professionals, disability advocacy groups, companies, and specialists worldwide to collect case studies on integrating accessibility into artistic creation and theater management. These international practices are analyzed and shared widely through public lectures, introducing approaches and concepts not yet fully recognized in Japan.

Program Overview

The program offers two distinct courses—Course A and Course B—each consisting of five lectures and a practical component involving participation in actual performance operations. The first half includes online lectures featuring practitioner dialogues and international case studies, while the second half focuses on practical workshops and on-site operations to learn accessibility planning and management through experience.

Each course has a capacity of 15 participants. If space allows, participants may enroll in both courses; those interested should select 'wish to attend both' during registration.

Participants are expected to attend all five lectures of their chosen course and participate in live performance operations. Transportation support of up to 10,000 JPY per course is available. Please consult in advance if you are unable to attend certain sessions.

The first two online lectures of each course will be held as public lectures, open to individuals not enrolled in the full course.

For details, please refer to the 'Application Guidelines.'

Course A | Practically Learning Accessibility Design and Operations for Performances

The right to enjoy art should be equally guaranteed for everyone. Information support services such as audio description, subtitles, and stage sign language interpretation should not be seen as special accommodations but as standard, accessible environments. However, current performing arts settings still face various barriers—including budget constraints, lack of systems, knowledge, and personnel—making comprehensive implementation difficult.

What perspectives are needed to shift accessibility from an afterthought to an integral part of the creative process from the outset? How can diverse stakeholders—directors, performers, producers, stage technicians, accessibility supervisors, and coordinators—collaborate effectively? Course A begins with these questions, exploring accessibility design and operations tailored to individual productions. Audio description producers and visually impaired stakeholders will serve as advisors during practical workshops.

Online Lectures

Lecture 1: September 2 (Wed), 19:00–21:00 | Online (Zoom)

Perspectives and Methods for Making Japanese Performing Arts Accessible

~Dialogue Among Stage Technicians, Accessibility Supervisors, and Producers~

Accessibility in performing arts should not be limited to adding audio description, subtitles, or sign language interpretation after a production is complete, but should be integrated into the creative and operational processes from the beginning.

This lecture features a cross-talk among accessibility supervisor Ms. Asako Hirokawa, stage technician Mr. Toru Hirai, and producer Ms. Akane Nakamura. They will share current realities, challenges, and practical approaches in Japan’s performing arts sector. We will explore the perspectives and concrete initiatives needed for collaboration across creative, technical, and production domains to realize accessibility that expands artistic possibilities.

Speakers:

Asako Hirokawa (Chairperson, NPO Theater Accessibility Network)

Toru Hirai (Stage Technology Department, KAAT Kanagawa Arts Theatre)

Akane Nakamura (Representative / Performing Arts Producer, Precog Inc.)

Moderator: Yuichiro Nagatsu (Associate Professor, Graduate School of International Arts Creation, Tokyo University of the Arts)

Lecture 2: September 4 (Fri), 19:00–21:00 | Online (Zoom)

Learning from International Cases: 'Creative Accessibility Practices and Their Processes'

The STAGE for ALL research team will collect case studies through interviews with cultural professionals, disability advocacy groups, companies, and experts worldwide, focusing on integrating accessibility into artistic creation and theater operations. The team will investigate and analyze international practices and widely disseminate underrepresented approaches and concepts through public lectures.