Silent Collisions is undoubtedly the most stirring play of Frederic Flamand, because a violinist on the stage accompanies the dance with sensitive improvisations; because the architecture of Thom Mayne, head of Morphosis, reflects both the human and spatial aspects…
Agnès Freschel - César 01/07

Flamand has conquered, and launched himself with the public of his town of adoption. The exuberant, communicative energy of the 14 dancers perfectly chosen by Frederic Flamand hit the bull’s-eye in this luxuriant show. A ballet that strikes the imagination attracts the eyes and stimulates imagination, clever without being insistent, inviting Plato, Marco Polo or the American empire. Eventually, lace, a nervure, a line of the hand.
Patrick Merle - La Provence 17/06/05

(…) Sometimes cynical, sometimes violent, or disenchanted, this subtly balanced play is above all very moving with romanticism, especially with the opening and concluding tableau, an omnipresent soundtrack mixing electro and baroque music with the presence on the stage of the virtuoso violinist George Van Dam.
Denis Bonneville - La Marseillaise 20/01/07

The public gave a standing ovation to the dancers of Silent Collision in what we can call “The Liberated National Ballet of Marseille”: it was on 16th June at the Theatre of La Criée, where, for the first time in its home, a work by the new director, Frederic Flamand, was performed. A brilliant success.
Raphaël de Gubernatis - Le Nouvel Observateur 14/07/05