The first productions brought to the stage by the company were 8 femmes et Savantes ? (8 women and savants?). From 2011, Rébecca Chaillon has been working on various forms, including L'estomac dans la peau (Stomach inside the skin) (2012 - solo/performance), Monstres d'amour (je vais te donner une bonne raison de crier) (Monsters of Love (I will give you a reason to scream)) (2015), and Où la chèvre est attachée, il faut qu'elle broute (Where the goat is tied, she has to graze) initiated in 2016, created in 2018). This production questions female assignements through women's football. In 2020, through the company Rivière sale, Elisa Monteil created an exploration of heterosexual assignments.

Carte Noire nommée Désir (Black card named Desire) (2021), a performance involving eight Afro-descendant performers, focuses on the construction of desire among Black women in France. It was performed around forty times during the 21-22 season. In 2022, the company will create Plutôt vomir que faillir (Better to throw up than to break) in delegated co-production with the CDN de Besançon as part of a collaborative partnership, a performative piece suitable for audiences aged 12 and above, exploring adolescence and food.

Since its creation, the company has always been committed to offering cultural outreach programs, leaning on its own creations. Since 2018, it has been supported by the agency L'Oeil Ecoute.

Her next creation, Monstres d’amour (I’ll give you a good reason to scream), is a duet with her main collaborator Elisa Monteil, centered around amorous cannibalism and Issei Sagawa. In 2016, Rébecca participated in documentary films about pro-sex performers, such as Emilie Jouvet's My Body, My Rules, and Amandine Gay's Ouvrir la Voix about Afro-descendant women. She also begins her screen career with a recurring role in a tv show produced by OCS, Les Grands, directed by Vianey Lebasque. Rébecca Chaillon writes the texts, dances, and performs in Delavallet Bidiefono's creation, Monstres/On ne danse pas pour rien, and collaborates with Yann Da Costa in Loveless and Les Détaché.e.s, with Gianni Gregory Fornet in Oratoria Vigilant Animal, Anne Contensou for Elle/Ulysse, and Arnaud Troalic in Polis. Her latest show, centered around women's football and discrimination, Où la chèvre est attachée, il faut qu’elle broute, was created in November 2018 at La Ferme du Buisson and performed at the National Dramatic Centers of Rouen and Dijon, as well as at the National Stage of Orléans. In 2019, she created and performs Sa bouche ne connaît pas de dimanche – fable sanguine with Pierre Guillois, as part of the 2019 edition of Vive le sujet (Avignon Festival/SACD). In 2020, Rébecca became an associated artist at the Théatre de la Manufacture - National Dramatic Centre of Nancy, and in late 2021, she creates Carte Noire nommée Désir.

Published articles and writings by Rébecca Chaillon: Article in Lizières magazine ‘When you eat meat, you are eating violence.’ That's what started my food performances. This sentence from my vegetarian colleague. I was mocking him, and yet at the time, I knew that I had invested my passion for meat at the same moment I had discovered my aggressiveness. If the connection wasn't real, unconsciously, it had done it.

http://shop.sometimestudio.org/product/nourrir-ce-nourrir

Contributions to 'Décolonisons les Arts' (Let's Decolonise the Arts). ‘Understanding colonisation and its effects, and therefore accepting that it's not over, and that my art can be a lever. To decolonise one's art, one must decolonise oneself. Identify what colonisation has done to me. Identify what it has done to my family. Identify what it has done to people who resemble me. Trying to fix oneself on stage. Or make things worse.’

https://www.babelio.com/livres/Verges-Decolonisons-les-arts-/1067737]

‘Polysème, issue 1 Skin(s)’ https://polysememagazine.bigcartel.com/category/magazine