Performer and choreographer, Dominique Brun is co-founder of the La Salamandre company (1980 to 1988), with which she won third prize in the 1981 Bagnolet international "Ballet for Tomorrow" competition. Le Ballet pour demain", and also co-founder of the Quatuor Albrecht Knust (1994 to 2003), with whom she recreates dances from the historical repertoire based on scores drawn up in the Laban system. After disbanding the Quatuor Albrecht Knust, Dominique Brun created Siléo (2004), based on a text by Wajdi Mouawad and interwar dances by Valeska Gert, Kurt Jooss, Dore Hoyer, Doris Humphrey and Mary Wigman.

In 2007, Dominique Brun produced an educational DVD devoted to Vaslav Nijinsky's L'Après-midi d'un faune (1912).At Jan Kounen's invitation, she recreates excerpts from Nijinsky's 1913 Rite of Spring for the film Coco Chanel & Igor Stravinsky (2010), using archive material from the period.

Supported by L'Association du 48, directed by dancer and choreographer Sylvain Prunenec, she continued her research into the "Sacre" with a diptych: Sacre # 197 (2012) and Sacre # 2 (2014). She concludes this cycle devoted to Nijinsky's work with the creation of Jeux - Trois études pour sept petits paysages aveugles (2017). This was followed by Les Perles ne font pas le collier , a piece she co-wrote and danced with Sylvain Prunenec (2018).Finally, she creates Le Poids des choses & Pierre et le Loup, her first show for young audiences (and all audiences) based on Rudolf Laban's Effort system (2019).

In parallel with her research into movement, Dominique Brun has developed a special artistic taste for the relationship between music and dance. In 2016, her encounter with the orchestra Les Siècles, conducted by François-Xavier Roth, led to the sharing of the same stage, that of the Philharmonie de Paris, for a project entitled Hommage à Nijinski , which toured as far as China.

Dominique Brun now turns her attention to two major works by Bronislava Nijinska. Her reinterpretation of Les Noces and Le Bolero is as much choreographic as it is dramaturgical and musical.The future of Les Noces and Le Bolero lies between tradition and interpretation, between written traces and choreographic inventions, in the metamorphoses of music and dance.