大阪 · 关西 —— 马戏节目出租与落地条件Circus Act for Hire in Osaka — Venues, Seasons and the Entertainer Status of Residence
日本市场最容易误判的一点：决定档期的不只是场地和价格，还有在留资格「興行」 —— 而且邀请方与场馆本身也要满足法定标准（舞台面积、化妆间面积、常勤职员数等）。这一页把这条线讲清楚。The most commonly misread thing about Japan: what decides a date is not only the venue and the price, but the Entertainer status of residence — and under it, the host organisation and the venue themselves have to meet statutory standards, including stage and dressing-room dimensions. This page sets that out.
关西的买家结构与东京不同Kansai is not Tokyo
Osaka and the wider Kansai region book entertainment differently from the capital. The mix skews towards theme parks and major commercial complexes, large shopping and dining developments, exhibition space, and municipal or festival programming with a strong local-community dimension.
Two practical differences follow. First, decisions often involve a primary contractor and a venue operator, which means two sets of technical requirements rather than one. Second, festival and municipal programming is a real route in Kansai, and those dates are set a long way ahead.
Japanese buyers generally want a complete, precise package before they will discuss money: drawings, load figures, crew credentials, safety records. Preparation is treated as part of the product.
场地形态The venue formats
| Theme park 主题乐园 | Repeatable, high-frequency slots. Short sets run several times a day. Stage dimensions matter for both the show and the paperwork. |
|---|---|
| Commercial complex and event hall 商业综合体 / 活动厅 | Compact, ground-level programming. Atrium-style venues suit the Globe of Death and acrobatic sets; suspended acts rarely clear the height. |
| Arena and convention centre 场馆 / 会展中心 | Where the Wheel of Death fits. Needs 15 m of clear height plus rigging points for the support structure, and a documented structural check. |
| Festival and civic site 祭典与公共场地 | A genuine Kansai route. Outdoor programming tied to the festival calendar, decided far in advance and with its own site rules. |
在留资格「興行」：邀请方与场馆也要达标The Entertainer status: the host and venue must qualify too
Paid performance in Japan sits under the Entertainer status of residence, and it is applied for by the Japanese inviting organisation, which first obtains a Certificate of Eligibility. Circuses and acrobatic troupes are expressly within its scope. What surprises most foreign companies is the second half:
- The performer normally needs evidence of at least two years of study or two years of practical experience in the field. The requirement is relaxed only at high daily remuneration levels.
- The inviting organisation has to meet its own standards — operational track record, a minimum number of full-time staff, and no disqualifying history.
- The venue has to meet standards too: a publicly accessible facility, a stage of at least about 13 square metres, a dressing room of at least about 9 square metres scaled to the number of performers, no food or drink service in the seating area, and a minimum number of full-time staff. Larger venues and higher remuneration are assessed under a separate category again.
Why this matters for a circus booking: the stage size and dressing-room allocation are not just production questions — they are part of the immigration file. If the intended venue does not clear those thresholds, the act cannot be engaged there regardless of how the commercial deal looks.
Processing runs to weeks or months, not days. Filings typically go in around two to three months before travel.
档期The calendar
- Golden Week, late April to early May. The densest family-programming window of the year.
- Obon, mid-August. A second major holiday period with heavy visitor traffic and family programming.
- New Year, late December to early January. Venues run special programmes; commercial districts are at their busiest.
- Cherry-blossom season, late March to April. Outdoor and civic programming peaks.
- Winter illuminations, November to February. An evening-programming window that suits light-driven shows.
- Summer festivals across Kansai carry their own dates and site rules.
需要您提供什么What we need from your side
- The inviting organisation in Japan, since it files the Certificate of Eligibility.
- The venue name, its stage dimensions and dressing-room capacity.
- The target dates, and whether the booking is a single show or a run.
- Whether the programme should be presented in Japanese; we prepare the documentation set the filing requires, and Japanese-language material with the submission.
With those we will come back with a format recommendation and the technical package, before any contract discussion.
常见问题Frequently asked questions
Do you have a resident show in Osaka or Japan?
No. We do not hold a resident production in Japan. Engagements are project-based: a season booking inside a park or commercial complex, a festival date, or a show operated jointly with a local partner.
Which status of residence applies to our artists?
Paid performance falls under the Entertainer status of residence, and circuses and acrobatic troupes are expressly within its scope. The Japanese inviting organisation applies for the Certificate of Eligibility; the artist then applies for the visa.
Why does the venue matter to immigration?
Because the venue is part of the host-side standards: a publicly accessible facility, a stage of at least about 13 square metres, a dressing room of at least about 9 square metres scaled to the number of performers, and a minimum number of full-time staff. A venue that does not clear those thresholds cannot host the engagement, however good the commercial terms.
How long does the paperwork take?
Weeks to months, with filings typically going in around two to three months before travel. Japan rewards preparation and penalises an incomplete file more than most markets.
Can the programme be presented in Japanese?
Yes. Most of our programme is non-verbal, and we prepare Japanese-language material for the submission and for the venue.
取得联系Start the conversation
Email mengtangshow@outlook.com with your venue type, the format you have in mind and your target dates, or reach us on WhatsApp at +86 189 6899 9691 (GMT+8). Site surveys are free of charge and come before any contract is discussed.
中文要点
- 关西的买家结构偏向主题乐园与大型商业综合体，并常涉及总包 + 场馆运营方两套技术要求
- 日本客户要的是完整精确的方案（图纸、荷载、人员资质、安全记录）—— 准备本身就是产品的一部分
- 在留资格是「興行」（演艺人员），由日本邀请方申请 COE；马戏/杂技团体明确在适用范围内
- 演员一般需证明2 年以上学习或实际从业经历（仅高日报酬档可放宽）
- 邀请方自身要达标（从业年限、常勤职员数、无不良记录）
- 场馆也要达标：公开使用场所、舞台≥约 13㎡、化妆间≥约 9㎡（按出演人数扩大）、客席不得提供餐饮、常勤职员数达标 —— 这是最容易被忽略、也最容易让档期落空的一条
- 申请通常提前 2–3 个月提交，审查以周/月计，材料不全被退是常态
- 档期：黄金周（4 月底–5 月初）、盂兰盆（8 月中）、年末年始、樱花季、冬季灯光季（11–2 月）
- 目前在日本无驻场演出，合作为项目制