Enfant terrible Boris Charmatz puts finger on sore spot with confrontational choreography about the elusive child

 With enfant choreographer Boris Charmatz broaches a difficult topic: how do we as adults deal with ourselves, and how do we deal with children? Charmatz draws on the French philosopher Lyotard, who pondered "the inhumanity" of adults and saw real people in children. The current view of physical contact with children is distorted, and it is that body that is always central to Charmatz's work. With enfant he takes you up the mountain for a view of a battlefield of relationships between adults and children. You can't take your eyes off it.

A cable swings around a bit and sets a crane in motion. Because it is impossible to see who is directing this machine-like process, this introduction has an ominous feel to it. Especially as everything is black and dead and bodies lie on the ground. The crane hoists a first victim into the air with a rubber meat hook. As soon as a second follows, a long 'pas de deux en l'air' ensues. The machine has gained power over humans but who has power over children? That will become clear in a revolution of movement and action.

The stage begins to shake and a mating ritual of people ensues. Then the first child is carried in. More pale faces and weak bodies follow. People everywhere are engaged with children in their own way. Because the relationship of the adults to the children is not clear, all sorts of connotations arise. As soon as music by Michael Jackson is heard, the performance goes over the edge: a hint of child abuse is deliberately forced under your nose. Charmatz does not want you as a spectator to avoid the theme.

Central moment is the lifting up of the child in her vulnerability and beauty as in a painting. In an introduction by Fransien van der Putt were then also brought in a painter like Hieronymus Bosch or sculptor Pisano. All sorts of evocative, massive scenes present themselves in this dance performance. With a crescendo of sound and movement, an Armageddon is imminent that makes you yearn for a denouement. That follows in the form of the children's utopian victory.

Enfant is a physical and emotional war of attrition for performers and audience alike. It is wildly clever how mass movement is orchestrated: you cannot discern what is happening. The quality of movement proves that careful and humane work has been done and can be done with children. They, in turn, behave like adults. Perhaps that is a helping hand to the posed problem of how to deal with children.

Charmatz himself has two small children, one of whom dances with him. With his Musée de la Danse, the dance maker, after working with schools, is devoting attention to children in the Petit Musée de la Danse. The classically trained dancer has been exploring modern dance and developing installations for many years. Enfant had its premiere at the former papal palace during the Festival d'Avignon in 2011. The show is still playing on Saturday 9 June 2012. Information.