Studies of female knights

Performance 2025

For nearly a decade, I have been immersing myself in the issue of feminism through my choreographic creations, while my company has placed sisterhood at the heart of its overall project. After a cycle of four collective works (BREAKING THE BACKBOARD, 2020, AMAZONES, 2021, C’est comme ça que don Quichotte décida de sauver le monde – Acte 1, 2023, Acte 2, 2024), I feel the need and the curiosity to return to the specific exercise of the solo, charged, even haunted, by these years of sororal exploration and collective reinforcement.

In Studies of female knights, I want to question the presence of my sisters, even in their physical absence. What remains of these women, of their energy and strength, when I stand alone on stage?
I aspire to summon, to reactivate the absent women on stage, to pay tribute to their contributions, to their energies that continue to nourish my work.

These questions also resonate in my relationship with my performers: after sharing so many moments of artistic intimacy, how do their bodies, their energies, their personalities continue to infuse my creation, even when the studio is empty?
After spending so much time watching them, stimulating them, filling them up, deploying all my kinaesthetic empathy with their bodies in movement to understand and guide them, how do these performers continue to resonate with me when they are – a priori – not there?
How do their physicalities, personalities and energies continue to infuse my body and my imagination?
How does the choreographic material that I have been able to create come back to me transcended by the multiplication of their presence and their experiences?
Just as I’m convinced that I’m transformed and nourished on a daily basis by my sister knights, I’m experimenting with the fact that I’m moved and nourished by all the company’s performers, and I love the prospect of this ‘solo’ being a kind of knightly tribute to each of them, and of the stage being invaded by their benevolent and ghostly presences.

The stage thus becomes the setting for a knightly ritual dedicated to my sisters, where their presence mingles with my own incarnation.

Studies of female knights is a choreographic tribute to sisterhood, where every movement and gesture is a celebration, a dedication to the collective strength of women. The stage is transformed into a sacred space where their energies continue to fill my dance, even in the fragile exercise of the solo.


Etudes pour Chevalières


Choreography : Marinette Dozeville

Music : MDLXIII from a field recording

Stage design / costumes : not fixed

Lights: Louise Rustan, Agathe Geffroy

Duration : 40’

Yapluka – Cie Marinette Dozeville

Coproduction underway

Support: Aide Résidences d’artistes en territoire rural de la DRAC, Studio D42 – Verpel

Dossier de production

création 2025