Those repetitive movements which end up by creating a perpetual motion (...) plunge the spectator in a kind of fascination, all the more because the successive arrival of the dancers on the stage and the multiplication of gestures and movements, in a splendid continuity, make the tension grow steadily.

One can only be seduced by this setting into a perpetual motion of twenty-four dancers overflowing with energy.

With Levée des conflits, Boris Charmatz dares an endless dance which snatches its participants as well as its spectators. (...) This vortex spreads to the stage, changes into a hypnotic trance and finally disperses. (...) The strength of this proposition, conceptual as well as physical, results a lot from the quality of the dancers.

A diverting play for twenty-four dancers (...) Levée des conflits is an accumulation of movements, repeated ad infinitum throughout a ballet that is exhausting for the dancers and hypnotic for the audience. At 37, the dancer-choreographer, considered to be one of the most brilliant of his generation, has just shown proof of his capacity to also do things on a large scale. With generosity.

Het choreografische principe is briljant (...) Het mooie is dat al deze individuen, die zich niets van de ander lijken aan te trekken, samen wel een eenheid(sworst) vormen. En dat de meute, ondanks de herhaling van de 25 bewegingen, toch dynamisch blijkt: versnelling of vertraging, uitwaaiering of juist samenballing, een steeds vollere soundscape en van kleur veranderende belichting zorgen voor de nodige variatie. Het enige gevaar: als het je niet lukt het analyseren los te laten, blijft Levée des conflits een vormspel, tergend traag in plaats van hypnotiserend.