[4] Dorin's great-grandmother was a coffee market store owner and this was taken over by her maternal grandfather Athanase Guilbert.

[4][6] After training opposite Roger Hanin and Michel Piccoli for a period of four years as well as working for her father at Théâtre des Deux Ânes for three years when he introduced her to classical literature,[2][9] her debut doing songwriter reviews came at a production of Aveux les plus doux in 1957 at the Théâtre des Deux-Anes.

[7][8] Dorin authored her first play Comme au théâtre in 1967 under a pseudonym,[3] then proceeded to write La Invoice the year after,[1] and she presented the television programme Paris Club that was broadcast in 1969.

[1] Over the course of the following decade, she authored Nini patte-en-l'air in 1990, Et s'il n'en restait qu'une and Que c'est triste Venise, N'avoue jamais, Faisons l’humour ensemble, Et s'il n'en restait qu'une both in 1992, Pique et cœur and Retour en Touraine each in 1993, La Mouflette in 1994, the vaudeville Monsieur de Saint-Futile two years later, les Vendanges tardives and the anthology Les Plus belles scènes d'amour in 1997 and the Courte paille in 1999.

[2] She had written songs for Charles Aznavour,[8] Michel Legrand,[3] Régine to Claude François, from Dalida to Mireille Mathieu, Juliette Gréco, Line Renaud, Patachou and Celine Dion.

[2] Dorin was one of the first women to sit on the board of directors of the Société des Auteurs et Compositeurs Dramatiques.

[2] She won the Trophée Dussane in 1973,[6] and was awarded the Grand Prix du Théâtre de la Société des Auteurs et Compositeurs Dramatiques for the play l’Etiquette in 1984, a prize she shared with Samuel Beckett.