1999 Corali's 10th Anniversary Performance!

1998 In Full Colour

1998 Brick on Brick

1998 Olympia's Last Laugh

1997 9 Windows

1996 The Last Thing I Saw

1996 Diary of a Dead Artist

1995 We are not so Ordinary

Corali's 10th Anniversary Performance! 1999

Corali worked in the Tom Blau gallery in Bermondsey to adapt 'In Full Colour' to a gallery setting. It used a mixture of video interviews about the process as well as the slides used in the performance and extracts of live action. We called this a 'live documentation' event and were very excited about it as a form.

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In Full Colour 1998

A commission from Tate Modern and winner of a London Hybrid award from what was then London Arts Board. A representative from Tate Modern had seen both '9 Windows' and 'Olympia's Last Laugh'. She discussed with Corali the possibility of making a piece for the Tate Modern prior to its official opening. Corali made a performance on the walkway in front of the power station to proceed a series of films being projected on the tower as part of the gallery's temporary exhibitions programme. Corali was thrilled to be part of this billing and the relationship between the film and Corali's performance was very exciting.

For this show we collaborated with Diego Ferrari who took photographs of the company. These were projected on a large outdoor cinema screen during the performance. Conceptually this show was based on a walk along the Thames. It marked a move away from fictional narrative for the company and brought back the idea of projection being used simultaneously with action. It also built on the simplicity of structure used in 'Olympia's Last Laugh'. It also solidified Corali's interest in collaborating with art galleries. Jon Ward composed the music.

'Their work echoed the emphasis on physical sensations of texture, environment, and the physical forces of gravity, mass, velocity explored in much Minimalist work…they bought a lyricism, wit and grace to these phenomenological explorations which captivated audiences'.
Iwona Blazwick, Tate Modern 1999

'This was a powerful multi-sensory performance which, through its abstract style, allowed each member of the audience to experience an imaginative journey of their own'.
Viewpoint November 1999.

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Brick on Brick 1998

Brick on Brick was made for an LWT showcase at the OXO tower in London. It marked the end of a series or workshops in Southwark special schools about ideas of home. Hetal Petal from Tuke School in Peckham performed a solo at the Oxo Tower, which incorporated video projection of her ideal home.

Hetal joined the company for its next main performance, before she moved away from the area.

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Olympia's Last Laugh 1998

This performance was devised as part of a conference organised by Corali about perceptions of the body in art. It was a re-examination of the Manet painting of Olympia, and starred Natalie Jeffry on a chaise longue in the middle of the Design Museum. The performance had a very light, airy and dreamy feeling about it and was the perfect compliment to the more academic subject matter of the evening. The simplicity of the performance structure makes this performance one of my lasting favourites.
Sarah Archdeacon.

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9 Windows 1998

This was the second commission from the Royal Festival Hall. Once again, in an unprecedented move, Corali and the education team conceived of a project which would be produced by the Royal Festival Hall but would take place away from it, in Bermondsey, where Corali was based. Sian worked hard to make it happen and Corali made a performance in a disused warehouse on the edge of the Thames which the audience travelled to via riverboat from the Royal Festival Hall.

It was a fantastic experience to make the show with such autonomy but at the same time have such support. The company's ownership of the building was so important to the overall success of the performance. A brilliant time was had by all, despite a massive downpour just before the first performance. The dancers rose to the challenge and re-rehearsed scenes with umbrellas minutes before it opened.

For this show Corali collaborated with singer Kelsey Michael who provided an abstract vocal narrative to support the live action. Her input was excellent and lifted the story to other light and abstract places. We were also joined by string trio, Olly Blackflower, bassist, Ilsa Da Zia, cellist; and her sister Nadia, violinist.

'This is dance performance which demands from, rather than pandering to an audience… Community dance has a low profile, but when it is allowed to create its own identity and is respected for what it is trying to achieve, it holds its own as an art form rather than being the victim of unfair comparisons'.
Independent on Sunday August 1997

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Corali's first commission and first site specific project.

Commissioned by the Royal Festival Hall, Corali agreed to the project under the condition that it could perform wherever it wanted to in the building! After much discussion, we chose the customer services lift and ante chamber in front. This performance was inspired by the paintings of Edward Hopper. A loose narrative was created as a result of looking at the 'stories' in the paintings. This was a very beautiful performance and a development of the use of a fictional story line from 'Diary of A Dead Artist'.

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Diary of a Dead Artist 1996

This show took as its inspiration paintings by the Dutch Masters, Vermeer and Rembrandt. Its narrative was taken from the made up diary of a composite Dutch artist. It was very lavish by Corali standards and featured medieval instrument specialist Mike Tyak on the lute.

This was performed at Turtle Key Arts Centre, The Royal Festival Hall, The Albany Centre and the Café Gallery in Southwark Park. This also marked the beginning of another long-standing collaborative relationship between Corali and Ron Henoq of the Café Gallery.

'This is a simple but striking play, which has a knack of gluing itself to one's memory'
Disability Art in London August 1996

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A show inspired by the performers' relationship to the city. It featured video projection of the company flying over London (filmed at the Museum of Moving Image!), poetry, sculptures and light boxes. A more complex performance structurally and a very satisfying take on city life.

The title was brilliantly found by Susan and is adapted from the Duchamp sculpture; 'This is not so Ordinary'

This was the first show that was performed at the Royal Festival Hall as part of Ballroom Blitz. This was the beginning of a very supportive and creative relationship between Corali and Shan Maclennan of the education team at Royal Festival Hall. It was also shown at Turtle Key Arts Centre and the Lilian Baylis Theatre.

'An ingenious blend of live music, video and sculptures…Although based on complex, intellectual precepts, which many directors would not contemplate with a group of this kind, the performances were presented with humour and confidence'
Disability Times August 1995

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