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Performing difference consists not only in making visible a conscious intentionality in bodily gestures. The activity of the living body becomes the place and time for renewed creativity by listening to what passes through the consciousness of the lived body. The bodily intentions are unconscious but not inactive because the perception sets up scenarios in the brain before the action can be visible. The body embodies meaning before it can be expressed in a linguistic structure that can be recognised by the community during the proxemic interaction. The difference between bodily intention and bodily awareness of intention is useful in understanding the unconscious anticipation of the voluntary activation of the body. The works of choreographers such as Isadora Duncan, Pina Bausch, Boris Charmatz, Jérôme Bel and Anna Halprin, and the experiences of the circus artists in CNAC (National Centre for Circus Arts, France) highlight the relationship between bodily intention and bodily awareness of intention. In the middle, affects, emotions and associative memory come to feed the semantic production of the body, sometimes without the consciousness reaching it.