“With an Arts education spanning two UAL colleges I aim to bring a sharp visual appreciation and interest in our contemporary artistic, cultural and social landscape. I have developed a curiosity for unconventional spaces, a passion for real stories and an interest in the role of visual and design materials in the devising process.”
Whether she is co-devising new contemporary dance work, working with community groups, new writing or more classic texts, Charley participates closely in the conceptualising and theatre-making process – focussing on collaboration & rigour to find the visual world specific and integral to each piece of work.
Charley’s designs have taken shape in theatres as well as promenade style performances in lessconventionalspaces, she is continually seeking to apply her approach across new scenarios and purposes.
Charley attained a first class degree in Design for Performance at Wimbledon College of Art in June 2013. Since graduating she has co-devised new contemporary dance work with emerging Choreographer James Morgan (ENSEMBLE, Resolution! 2014 Festival at The Place), effected her interest in applied theatre through a variety of design roles at the Tricycle Theatre (assistant designer: The Wardrobe, The Kilburn Passion; designer: Dream Neasden, Minding The Gap, Story Lab), and, most recently, Islington Community Theatre (Chicken Shop at Platform Islington).
Good For Her – Live Performance Design
A proposal for a large-scale performance of colliding worlds, ideas and personalities, where audio fragments (voices of individual women) are combined with live performance to confront the audience with contradictory and contemporary ways in which women form their identities and relate to other women. Good For Her is a self-initiated, conceptual project which formed part of a study unit focussed on developing larger-scale, speculative work to explore, experiment, question and find depth in the theatre & performance design process. I developed a fascination with how ideas of femininity were being interrogated and re-fashioned, not just by first-world cultures, but increasingly, inter-connected grassroots movements across the planet. I expected to find a rule or central truth to the act of female communion, what I got was contradiction and overwhelming fervour in all directions – above all, the realisation that women are just people. The dreamlike quality of the Old Vic Tunnels plays into a sense of intimacy and revelation — a pale, ambiguous backdrop to a hidden world of female humanity.