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The aim of this article is to discuss the bodies of circus artists in circus history. In order to highlight the significance of the circus artist’s body in the circus and its change, the article analyzes studies and literature on the history of the circus, circus definitions and differences between the body’s position in traditional and contemporary circus. Going deeper into the history of the circus, it can be seen that the position of the circus in society has almost always been unstable, and it has been both marginalized and considered as an art of the elite. As the circus is a very bodily form of art, the changing position of the circus in society has also influenced attitudes towards the body of the circus artist. Likewise, the bodies of circus performers were seen as strange, unacceptable, abnormal, or an ideal example to society. The object of the article is the change of the body of the circus artist in the historical development of the circus. The text also analyzes the problems of circus periodization, as it is often difficult for circus specialists to agree on circus periods and their differences. Nevertheless, a clear distinction can be observed between the traditional and the contemporary circus and the bodies in there. The body of the contemporary circus artist is paradoxically distinguished by virtuosity and human vulnerability, their body is constantly in a state of pain, risk, fear, or success and must be ready for change. In the contemporary circus, the bodies of artists are self-reflective; they, unlike in the traditional circus, are close to ambiguity and thus the contemporary circus becomes an opportunity for self-expression and social critique to manifest through the body.