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Levée des conflits
“Levée des conflits” explores an important feature of Boris Charmatz’s work: his physical engagement with dance and with surpassing his own skill as a dancer to reach the state of unstable bodies.
Like Programme court avec essorage, Levée des conflits explores an important feature of Boris Charmatz’s work: his physical engagement with dance and with surpassing his own skill as a dancer to reach the state of unstable bodies. Levée des conflits is based on a seemingly simple principle: 25 movements for 24 dancers. These 25 movements are shown at the very outset of the performance as a linear succession of these dynamic forms. Gradually, the dancers collectively elaborate these forms along the modes of choreographic writing so that all the dancers are caught in a rhythmic vice between the dancer preceding him or her and the one following, as links in a chain of 25 movements. An arrangement based on a fluctuation of rules which draw the interpreters, to the point of exhaustion, into a complex dance of disconcerting physicality. As Boris Charmatz explains, the exhaustion results from the original intention: “there is one more movement than the number of dancers, so there is always a gap to be filled, and it’s this gap that animates the whole. It’s like an infinite game of musical chairs. I also love this idea: a creative lack.” The viewer witnesses the permeability of the circulation between the bodies and the sensory engagement of these bodies which, beyond a certain stage of the loop, reach their capacity.
Source : Boris Charmatz
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