presenting choreographies like Gondolages, Giselle échappée, L'éléphant et les faons, Tierce galante ... From 1989 to 2008, she taught her pioneering training method and Ballet repertory at the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP). She made a books series for children and their teachers called Les gestes de Lilou. In 2008, it was uploaded online and published in 2012 by Clef de Sole. From 1990 onwards, she started to recreate some standards of the ballet repertory (Coppélia ... ) and to carry on her choreographic practice in different shapes and forms: Le petit Atelier, Romance, L'Amour médecin (2005) for the Comédie-Française, and Anonymes (2006), for the National School of Circus Art ( l'Ecole Nationale des Arts du Cirque) at Rosny-sous-bois. After 2009, she worked with the Strasbourg Conservatoire (conservatoire à rayonnement régional de Strasbourg) (commissioned works, conferences, pedagogy). She married Jean Guizerix. Research 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. From then on, she stopped working at the barre and started straight in the middle of the studio. This would be the beginning of a whole research process which led her to devise a pioneering technique in movement understanding called Flexible Barres. Working on body memory and the use of imaginary, she entirely rethought dancer training, developing a practice out of any specific aesthetic. 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. Pedagogy Since 1990, she has collaborated with Noëlle Simonet to write in Laban notation the exercises of her method. 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. She takes part in dance related events and gives conferences in France and worldwide, such as Sur la trace des Dames Blanches, commissioned by the Cinémathèque française de la Danse(Dance videos center). Several university dissertations were inspired by her conception of dance: Bachelors Élodie Bergerault, 1999, Université Paris VIII - Wilfride Piollet, une pédagogie, un regard d'élève Christophe Duveau, 2004, Faculté de Lettres Nice Sophia-Antipolis - La méthode de Wilfride Piollet