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Evila is a choreographic fiction, a second piece, the second part of Rosalie.

Evila is constructed as a story, a story that stages a collective imaginary around the sexualization of female bodies, past and present. The piece exposes stereotypes that marked the choreographer and the performers when they were teenagers in the 90s, 2000s, and even 2010. On stage, a performer, an actress and a dancer are all inhabited by a rhythm in three beats giving birth to three bodies evolving in the same swirling coral universe. In a written score, different forms of feminism coexist. The sensation of this ternary rhythm - as opposed to the binary one - brings out these gendered stereotypes, erected as myths. Then, little by little, the three time rhythm breaks these clichés, complexifying these images and thus shifting the imaginary. Evila exposes the clichés, gradually superimposing them until saturation. The bodies become hybrids and call to leave the stereotypes, and invite the spectator to find his own way of appropriating and deconstructing the representations he knows.