The Housekeeper is the second part of the diptych The Wife/The Housekeeper, i.e. two solos that take on female archetypal figures. Like “glitch art,” choreographic writing takes advantage of the obsolescence of such a representation to seek a language based on dysfunction, on “system error.” The work begins with two objects, the sponge and the vacuum cleaner, which first sculpts the choreographic and sound material. The piece is composed around systematic relationships between gesture and sound in order to draw a compartmentalized space in which the figure is forced to evolve. Inspired by Sheila Rowbotham who, in Conscience of Women, World of Man (1973), spoke of the “neurosis of nothingness” when it comes to household work, La Ménagère explores a cyclical process, an unchanging context where the repetition of the gesture dissolves this figure that perpetually seeks to crystallize.