本文立基於紀登斯(A. Giddens, 1938-)的自我認同論述來探討雜技演員如何看待自身職業。因此，本文關注的對象是U職業劇團的雜技演員，採取生命史研究法，透過雜技演員深刻的生命陳述，記錄研究參與者的自身體認與經驗，以及他們對自身經驗所賦予的意義。研究發現，雜技演員進入U職業劇團涵蓋多種因素，但其共通性皆因喜歡這項技藝而投入職場，並為雜技表演默默奉獻一已心力。其次，經由研究參與者的敘說，我們看見「小飛的計較與執著」、「飛仙的志業與無奈」、「老爹的膽小與堅持」、「寶寶的熱誠與融洽」以及「研究者的故事」，促使我們多一份默契、情感與信任。再者，雜技演員在U職業劇團面臨「『制度法令』的不公與出走」、「志業和現實衝突的兩難」、「對職業的『認同』」等變項，促使研究參與者的認同感是持續與轉變的狀態。

This paper aims to explore how acrobats identify themselves as professional performers and view their techniques and profession. The researching method of Life history was conducted for collecting the live experiences, narrative stories and the meaning of them by observing and interviewing the U-Acrobatic Troupe acrobats. The findings show that these acrobats devoted themselves to this profession because they are fond of this art technique. Moreover, well-coordinated feelings and trust were built resulting from ＂haggle and stubbornness from Xiao-fei,＂ ＂career and having-no-choice from Fei-xian,＂ ＂fearfulness and persistence from Lao-die,＂ ＂devotion and harmony from Bao-bao,＂ and ＂the story of researcher.＂ Furthermore, these acrobats of the Troupe struggle to go away or not while facing ＂the unfair Acts and ordinances,＂ ＂dilemma of career and reality,＂ and ＂identification and re-identification with profession.＂ These three variables have their inevitability but still have their commonality. The identification of acrobat, in summary, is a continued and transferring status.