Recently, quite a few of researchers have devoted their efforts in studying acrobatics in Taiwan. However, some areas still need to be further investigated, such as Tang-Hua Li's Acrobatics Group which is an unexplored but important field. Therefore, the aim of current study is to investigate the historical trajectory and meaning of the Tang-Hua Li's Acrobatics Group, and also to analyze the relationships between the acrobat's body and identity/stage/mater/apprentice. The data were collected through the methods of historical research and oral histories, including newspaper, magazine, official documents, memoir, biography, and the transcript of the tapes. The findings showed that the characteristics of the Group's performances included the following four stages: the performance for survivability in the period of the civil war between Kuomintang and Communist, the performance for troop-entertainment in the period of Kuomintang coming toTaiwan, the performance for diplomacy in the period of reviving the R.O.C. , and the performance for traditional inheritance in the period of enhancing the Chinese culture. Besides, the interactive relationship between the acrobat's body and performing field was reflected in the social structure. On the one hand, the sense of the national mission impacted on the embodied body of the acrobat deeply; on the other hand, the Group enhanced the fame and built the image because of the good relationship with the politic party and being good at self-promotion. The Acrobatics Training Center set by Tang-Hua Li became the pioneer of developing acrobatics in two sides across the Taiwan Strait after the distinctive historical context of post-war.