PROBLEMS: Since the Rio agreement, sustainable development is being widely talked about at the international and national levels. The nations thus seem to be concerned by ecological, economic and social matters. This point of view spread out little by little through society and the education system through what is commonly called "education with the environment" or ecocityzenship. At the same time the relation between education and society are increasingly questioned. Thus, the government, the educational institutions seek new partnerships or networks in order to answer the problems with which they are confronted. "Artist-school" partnerships, thus developed in France from the 1990's to the Jack LANG law on "the artistic practice workshop". It meant genuine alignment of the artistic world and the world of education. If we plan to connect these two aspects, it is that the social question is in the heart of the educational concern like it forms integral part of the sustainable development. The question of survival of the planet thus returns to the question of the place of man in the society and therefore to the place of man in the educational system itself. At the manner where Gregory Bateson refers to, when he submits a project of society named "high degree of civilization" including in the educational system all that is essential to the maintenance of the necessary wisdom and in the offer of aesthetic and creative satisfactions. However, numerous difficulties of the education system such as the school failure, the extra work of the pupils or the sufferings of the young people's life give the impression that there is more serious immediate concern than to try to wonder about the place of human being on the planet! And that the question of the agenda is rather to prepare examinations under the best conditions, which will allow the professional success and social insertion. In this case, the artistic education especially summarized with transitory arts would propose nothing new, nor even nothing solid. The question of body and its emotions would not seem a priority. What does sustainable development means? A new utopia, or a new dubious model of thought? Which role society does it assign to artistic teaching? What is going on with framework of the partnerships artist-school in particular concerning transitory arts? What is operating within the teenager's body? Which bonds can one consider with an unspecified approach of sustainable development or ecology of the spirit; CONCEPTUAL ANALYSIS SCOPE Within the every broad framework of relationships between society, ecology and art, we suggest to determine the following concepts as well as possible. The proposals of sustainable development or the viable future are hitherto centered on the environment. But from the reconstructivist point of view related to postmodernety, it is the dimension of an integral human development which we will focus on. Because it is a fundamental and inescapable aspect of contemporary thought and which make sense in our society. What we call transitory arts gathers all the artistic means of expression which are lived thanks to the body: dance, the theatre of street ... the circus. The concept of body-subject appears quite suitable. Even though the time of representation is transitory, the practice is the place of risk and going beyond oneself, of catharsis, which allows the expression of durable emotions. In the western society, the body seems to be a real concern. Research in this respect is multiple such as those concerning the body and the taking risk. Or of works showing the important role allotted to the body in the history of education. In all cases it will be a question of studying the circumstances of a new age of oneself and another body diagram such as definite for example Paul SCHILDER. These various concepts will meet in a study which wants to be with the crossing of analytical description of social practices as presented by BECKER and of the analysis of representations as studied by ABRIC. It seems indeed important to us for an object which concerns the significant reasons, as MAFFESOLI explains it, to hold account at the same time of the reality of the situation as well as representation involved in the places of action. METHODOLOGY: The selected place of study is a college of the ministry of agriculture in partnership with a regional school of circus arts. On one hand, because the college has been the place of several years of experimentation within the framework of sustainable development and that for this reason, the actors who lived there (pupils, professors, administration) worked out practices and representations. On the other hand, because the college is since the same period, in partnership with a school of new circus i.e. at the cross roads of several transitory arts. A survey by questionnaire will make it possible to know much better the representations of the various actors including the artists, with regard to the transitory arts and sustainable development. A working- out of group of the representations can make it possible to come out of the different elements according to whether the pupils' class took part, did not take part or is taking part in a circus workshop. Lastly, individual drawing work can make it possible to clarify the share that the pupil could apprehend with regard to the body and its emotions. On the basis of assumption 0, affirming that art and sustainable development do not have any link, we can emphasize that the bonds were created and that they constitute a specific reality. This study will have, then, to be widened to again define what would be an education at our richer time of direction and more responsible. 1. BATESON G., 1980, Vers une écologie de l'esprit ?, Paris, Seuil. 2. SAUVE L., 1999, Environmental education , between modernity and posmodernity- Searching for an integrative framework. Canadian journal of environmental education. Vol. 4, p. 9-35. 3. LE BRETON D. 1991, Passions du risqué, Paris, Métaillé. 4. SCHILDER P, 1968, L'image du corps, Paris, Gallimard. 5. BECKER H. S. , 2002, Les ficelles du métier, Paris, LA découverte. 6. ABRIC J.C. , 1994, Pratiques sociales et représentations, Paris, PUF. 7. MAFFESOLI M. ,1996, Eloge de la raison sensible, Paris, Grasset. 8. ZAY D. , LALLIAS J.C. , 1998, Les ateliers de pratique artistique de théâtre, Paris, INRP.