Boris Charmatz belongs to that generation of French choreographers, now past middle-age, who have remade the New York postmodernists in their own image. For example, they are less interested in the seriousness with which Yvonne Rainer et al. questioned every assumption than in the simplicity of the experimentalists’ means: The French risk dopeyness to avoid pretension. For Charmatz, endearing goofiness shows up most readily in his solos, a recent form for him, 30 years into his brilliant dancemaking. His first solo, like his second, has a serious aim: to work against what we imagine is danceable. The 2021 Somnole, which toured internationally, was indebted to sleep. Charmatz wrapped himself in dreams and their fuzzy-headed aftermath as he charmingly bumbled about the stage. This year’s Muette isn’t just unaccompanied by music, it inhabits the realm “where language is stifled,” the choreographer notes. Muette travels this summer and fall to the Viennese festival ImPulsTanz, Avignon in France, and the Italian RomaEuropa, and in the winter to Paris and its outskirts. —Apollinaire Scherr