In the ongoing spirit of “embeddedness“, I interviewed Lazaroff while she was in rehearsals for this work. You can read my interview with her here at RealTime.
Dancer Veronica Shum is a picture of intense concentration, a devotion to the exacting choreography. These movements aren’t involuntary: they are highly choreographed, highly controlled, highly trained, highly rehearsed.
And yet, as Shum raises her leg to the height of her extension, there is a soft, involuntary shudder which ripples through her strong leg muscles.
As she stretches her foot, her arch is raised, her toes point to their full extent and there is a shiver we can see move through the ligaments as they curl around her bones.
Here, at the peak of a highly rehearsed movement, there is the smallest hint of Shum’s involuntary reactions.
These small moments are just that: small. But in some ways, they are the strongest in Katrina Lazaroff’s Involuntary. Lazaroff’s work, part commentary, more humourous observations, draws parallels between physical reactions which we have no control over and a society which is increasingly regulated to the point where we have no choice but to scroll five pages down and click “I Agree.”
And it is interesting to speak about those things in a work which, as necessitated by its form, are highly structured and measured. While we may feel the pressure of the clocks ticking on our lives as we notice the weeks are getting shorter and the things to be done in them are getting bigger, these dancers have one hour of dance to do in one hour. The lighting will change when it needs to, the projection will shift on the right beat, the dancers will move across the stage the way they have for weeks in rehearsals. And so in a work about the involuntary, the peeks at something small, yet involuntary (even if occurring as an exacting result of an exact choreography) become something amplified well above their usual worth.