Based on the results of an ethnographical inquiry begun in 2002 and consisted of interviews and observations in vivo, this article is an attempt at analysing processes of construction corporealities and definition of artist’s identity by trapezists. The study starts a reflexion on the recent transformations of circus and its labellisation as art. It shows that, even though the experiences of the social actors are multiple and sources of tensions. The physical dimension of this “art of circus” leads nearness with sport : this is a reason why trapezists have to affirm their artist’s identity. In order to contribute to a reflexion on field work, we will explain how results have been obtained. Indeed, other words were pronounced by trapezists, collected and understood differently, because we observed with our body and we felt pain.