[Event Report] Creator Support Fund Special Symposium, “Presence & Resonance: The Future of Theatres” @YPAM (Part II: Discussion)
In December 2025, a symposium focusing specifically on the Support Program for Cultural Facilities Function Enhancement (hereafter referred to as the “support for cultural facilities”), one of the support programs under the Japan Creators Support Fund, was held at the Yokohama International Performing Arts Meeting (YPAM).
This report introduces highlights from the discussion in the second half of the symposium.
Read Part I here:
[Event Report]
Japan Creator Support Fund Special Symposium, “Presence & Resonance: The Future of Theatres” @YPAM (Part I: Presentation)
Basic Information
Japan Creator Support Fund Special Symposium
— Presence & Resonance: The Future of Theatres
Date: Wednesday, December 10, 2025 | 10:00–12:00
Venue: Gender Equality Center Yokohama South (Forum Minamiota), 3F Auditorium
Speakers:
[Panelist]
Ken Takiguchi (General Manager, Setagaya Public Theatre)
Akiko Takeshita (Performing Arts Producer, Yamaguchi Center for Arts and Media [YCAM])
Masayoshi Yahagi (Director of Project Planning Division, Tokyo Metropolitan Theatre)
[Guest speaker]
Hiromi Maruoka (President, Japan Center, Pacific Basin Arts Communication / Director, Yokohama International Performing Arts Meeting)
Faith Tan (Director, Programming (Dance, Theatre, Visual Arts & Int’l Dev), Esplanade – Theatres on the Bay, Singapore)
[Moderator]
Masahiko Yokobori (Associate Professor, Faculty of Management, Atomi University / Dramaturg / Advisor, Japan Creator Support Fund）
★Lunch Gathering: 12:00–13:00 (following the symposium)
Organized by Japan Arts Council, in cooperation with Yokohama International Performing Arts Meeting Executive Committee.
In the latter half of the symposium, a discussion was held with Mr. Masahiko Yokobori, advisor to the Japan Creator Support Fund. The discussion brought together six participants: four presenters from the first half of the symposium, joined by Ms. Hiromi Maruoka, Director of YPAM.
Drawing on the diverse experiences of each participant, the discussion explored the theme “The Future of Theatres.” It provided an opportunity to share perspectives on the significance and challenges of promoting international engagement by theatres. While touching on the history of theatre management and existing systems, a thought-provoking exchange of opinions took place. The following summarizes key opinions from the session in a bullet point format.
◆ Discussion footage (approx. 55 min.)
Audio: Japanese
Audio: English
*The interpretation audio is taken from the simultaneous interpretation provided during the event. Please note that some parts may be difficult to hear.
[The Significance of International Engagement and the Role of Public Theatres]
・Expanding abroad means stepping out of your comfort zone. By placing oneself in a place different from one’s familiar surroundings, one can gain new insights, while also discovering unexpected commonalities. (Tan)
・Public theatres in Japan, operating in accordance with the Theatre Law, are required to function as a “new public sphere.” Going abroad is an opportunity to meet people with values of the utmost contrast, and in this sense it can be seen as an essential activity of public theatres. (Takiguchi)
・The Japan Creator Support Fund is innovative in that it provides support over multiple years. However, a long-term perspective is needed when it comes to building relationships with other countries, spanning as long as 10 to 20 years. In Japan, there remains a gap between the ideal state of such long-term engagement and the current operational structures and funding systems, including the designated administrator system, which presents a significant challenge. (Yahagi)
[Project Evaluation]
・In the evaluation of our theatre’s projects, the discussion tends to focus more on areas that fell short, rather than on valuing creative outcomes and accomplishments. Similarly, it may be worth reconsidering whether grant systems are structured to support the continuous development of achievements. When considering the standards for public theatres, there may be a lack of perspective for analyzing and evaluating the quality and significance of achieved outcomes. (Takeshita)
[Future Prospects]
・Looking back on the history of public theatres in Japan, we see an increasing trend toward global orientation among artistic directors. With its multi-year support framework, I feel that the Japan Creator Support Fund has played a role in encouraging these international efforts.
At the same time, as theatres increasingly expand both domestically and internationally, we have entered a phase in which it is necessary to reconsider what roles theatres should play within these broader contexts. (Maruoka)
Following the symposium, a lunch gathering was held.
With the cooperation of many individuals and organizations, we were able to successfully conclude this symposium, and we would like to take this opportunity to once again express our sincere gratitude. In addition to this symposium, YPAM hosted performances by artists and arts organizations from Japan and abroad, as well as numerous presentations by organizations supported through this fund. Over the approximately two-and-a-half-week duration of the event, the program was marked by great vitality and provided enriching opportunities for many participants. We hope that this report and related materials will contribute to the advancement of theatre management and the promotion of arts and cultural activities.