She performed at the Paris Opera and throughout the world the leading roles of the classical repertory (Giselle, Swan Lake, Sleeping Beauty, Coppelia…) with amongst others, Rudolf Nureyev, Cyril Atanassoff, and Fernando Bujones.
Interested in contemporary creations of Merce Cunningham, Lucinda Childs, Douglas Dunn, Andy Degroat, Félix Blaska, Dominique Bagouet and Daniel Larrieu, she formed a duet on stage and in everyday life with her husband Jean Guizerix .
From 1977 onwards, she choreographed her own pieces such as The Wooden Prince, Eight Hungarian Dances, Fox, Lettera amorosa, Dam'Oisel, Momerie, Figurative Ballet, Penthésilée, and The Conspiracy.
[3] In 1973, while working with Merce Cunningham for the Un jour ou deux creation at the Paris Opera, she realised after a class that her movements were much easier than after a traditional warm-up.
She was particularly influenced by the notions of AFCMD (analyse fonctionnelle du corps dans le mouvement dansé - body and dance movement functional analysis), drawn from her collaboration with Odile Rouquet and her encounter with Bonnie Bainbridge Cohen.
At the CNSMDP she is supervising the analysis work of Claire Roucolle (2005), Linièle Chane and Kyung-eun Shim (2008) for their final exams in Laban Notation.
In 2002-2003, she became a member of the network led by the Maison des Sciences de l'Homme and La Rochelle University Society, and supported by the Research Ministry and the DMDTS of the Culture and Communication Ministry called: Le mouvement dansé : recherches pluridisciplinaires et processus de création(Dancing movement: pluridisciplinary research and creative process).