Charlotte

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QTLS Qualified Performing Arts Teacher/Professional Director - Acting tutor with Charlotte

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About Charlotte

Charlotte Cox

DBS checked

Founder member of Creative Development
Artistic Director of NoNameProductions
Equity Member
Honorary member of the Royal Central School of Speech and Drama
Member of IFL

Education:
April 2013:
QTLS
Sept 2007:
Institute of Education, University of London: PGCE in FE, In Performing Arts, PTLLS
Sept 2006:
Working Men’s College:
GCSE in Higher Maths.
Sept 2005:
Central School of Speech and Drama: Studied for an MA in Applied Theatre.
Feb 2002-5:
The London Metropolitan University, Holloway: A Joint BA Hon’s Degree in Performing Arts and in Education. (2:1)
Sept 1981:
Chelsea College of Art: Foundation Degree in Fine Art.

Employment History:
2016:
Directing a play from late October-to be Performed in early December.
Directing an Intergenerational Project on War and Refugees.
Visiting Examiner, Adjudicator for the final year at a College in Surrey.
Facilitated Drama and the Performing Arts to A'level Students, at a Youth Centre in North West London

I Set up and facilitate, Creative Development.
The idea behind it is to provide and create
a safe place and space where individuals can come and explore their own interdisciplinary arts projects, from conception through to finished format.
Already, from the sessions, we have had 2 new plays professionally performed in London and choreographed dance works commissioned and performed in collaboration with a group of young adults with special needs.
Directed a Physical Theatre Play, in London.

Wrote and performed a poetry recital at Fredericks Place, London.

Collaborated with the Director David Glass, cousin to Philip Glass, at the Laban Consortium, on a Project called, DE-vine Comedy, a play in Development.

Sept 2015-Jan 2016 :
Collaborating/Directing Tumult of Bologna with Didi Rossi.
Facilitating Neutral Mask Workshops in Hackney.

July-August 2015:
Specialist in Performing Arts, Directing Intergeneration Community Projects:
Sidney Corob Homes-London, Cherry Tree Retirement Home.

May 2015:
Collaborating with Odd Eyes Theatre Company on a Community Theatre Project Assembly.
Professional reading of my play.
Drama Workshops.

March-April 2015:
Directed Rita Suszec in SAFE.
Private Speech and Drama / Voice Sessions, for Students in FE, Professional Actors and Academics.

January-February 2015:
Commedia Dell’ Arte International Festival
Trained and Performed.
Directed Apple Core, at the Lost Theatre.

September 2014-15:
Performing Arts Facilitator.
Directing/Performing in a Dario Fo Premier production, never performed in English, (translated by Joseph Farrell) to be performed at the University of Greenwich and throughout London.

July-Sep 2014:
Directed Dying City.

July 2014:
Freelance Facilitator of Commedia Dell' Arte Workshops in Gloucester for Wise Moves.
Directed a Scratch Performance at the Cockpit Theatre, London.
May 2014:
Directing/Facilitating, Living Theatre Project.
March 2014:
Produced and Facilitated Working with the Neutral Mask Master Class, at The University of London, (UCL) for The Centre Stage Series.
Jan 2014-:
Voice Coach
Training Professionals in Public Speaking, clients include Academics at the University of London.
On Going: Actor/Director/Script Writer, for NoNameProductions, incorporating, KitchNsynC Dramas.
Facilitating Script-Writing Workshops.
Nov 2013:
Stage Manager for, ‘Red Letters’ a play adapted by the SoandSoArts club.
Oct 2013-14:
‘Fun Palaces’, directing a site specific community project in commemoration of the life of Joan Littlewood, in conjunction with Stratford Theatre. Performing in Camden Town.
Oct 2013-
Professional Director on a Physical Theatre Production, combining all disciplines, in the performing arts.

2013-Oct 2013:
Lecturer/Head of the Access Course in the Performing Arts, at an FE College in London.
Duties included: Designing Entry Level 1, Btec Level 3 and the Access courses, Devising schemes of work, Lesson Plans, Directing, personal tutor for the Access students supporting the staff within the performing Arts Department.

Sept 2013-13:
Worked with the BAC on a personal stories community project.
July 2013:
Performed at the Barbican Theatre in HAND, a Physical Theatre Production. Director/Choreographer, Rosie Whitney Fish.
Jan-April 2013:
Professional Actor/Assistant Director in Six Characters in Search of an Author
Performed at The Rose Theatre. Directed by Manuela Ruggiero for WOH Productions.

Sept 2012-13:
Script Writing a Feature Film and work on a Site-Specific Production, examining issues around mental health institutions.
Sept-Dec 2012:
Stage Manager for So and So Arts at Chelsea Arts Theatre and Marylebone Gardens.

July-Aug 2012:
Senior Mentor in residence for The Challenge, A Government Funded Community Programme.
I was responsible for 12, 16-17 year old students on a physical challenge course in the Peak District.
I led the team by example under the Instruction of an ex SAS Soldier, and Abseiled down a very tall bridge, went cave walking and pot holing for 4 hrs, rock climbed without a safety harness for 4 hrs, walked and rock climbed over two peaks for 8hrs and camped out, climbed up a very tall totem pole and jumped on to a trapeze and completed an Army Assault Course.
The objective was to collaborate in a team Bonding Exercise, to create a sense of achievement within the group by going out of one’s comfort zone, to take risks and to be responsible for the well being of others and to show ones leadership skills.
At the end of the week I am very proud to say that my Team won the Team Challenge!

Jan-Sept 2012:
Supply teacher in The Performing Arts:
Including the John Lyons Independent School, Harrow. Responsibilities: Writing lesson Plans, Teaching BTEC Performing Arts and levels 3-5, embed Key Skills, Behaviour Management and rehearsing after school.
July-Sept 2010-11:
Script Writing/Directing.
April-Dec 2010:
Supply Teacher throughout London, including Queen Elizabeth Girls School, Barnet.

Dec 2009-April 2010:
Performing Arts Teacher/Director, Maternity Cover, at Harrow College of Further Education, Middlesex.
Responsibilities: Drama Lecturer/ Duties: Lesson Planning, Marking Work, Assessing Behaviour and Aptitude, Writing Reports, Preparing student’s’ for life- long learning, Registers, Checking Attendance and Follow up Reports, creating Individual Care Plans, sharing information with appropriate staff members as and when problems present themselves and being Responsible for all aspects of BTEC 1ST’s educational experience and welfare, as their Tutor.
Sept 2008-09:
Supply Teaching throughout London including:
St Pauls Community School, White Chapel.

Sept 2007-July 2008:
Full-Time Performing Arts Teacher/Director at The Arts Depot, teaching BTEC 1-3 Including 2nd Year Foundation Degree.

Sept 2005-07:
Projects in the performing Arts which include:
Working in Hackney with GCSE students from disaffected areas, making Shakespeare more exciting and accessible.
Working with the Sri-Lankan Community in Mile End, examining issues around Cultural Capital and the fear of Westernisation. Finding Resolutions out of Conflict.
Working with CanDoCo a Disabled Dance Company during their training.

Working as an Actress in Deep End in collaboration with Soho Theatre.

Charlotte Cox.
Covering Letter for performing Arts:
I have chosen to be a Theatre Practitioner because I am passionate about the transformative powers within the Performing Arts. I understand the value of a positive approach to teaching, directing and continued professional development. I want the best experience for those I work for and collaborate with.
I believe that it is possible through the challenges that drama presents, to change one’s personal outlook upon which negative self images are often based. By re affirming through the collaborative experience, an acceptance of self worth, creating an environment of inclusion, trust, discipline and encouragement, anything becomes possible and ones full potential can be realised.
In my opinion it is the taking part which is important, bonds are created, an acceptance and sense of belonging nurtured where upon the moral and personal development of every person blossoms and leads the way for future generations.
This is why I have chosen to work within the field of the creative arts, not only as a professional director and actress (having recently acted in 6 Characters in Search of an Author at the Rose Theatre, to very good reviews by the press) but also as a facilitator/teacher and mentor.
I am passionate about enabling all my students, to feel good about themselves and to know the joys of being part of a team, to create lasting memories which will shape their future and give them the strength to tackle difficult issues from a position of authority, confident about taking risks in order to achieve a positive outcome.

Here is one review for 6 Characters in Search of an Author in which I played the role of the Director.

On paper, reviving Six Characters in Search of an Author sounds like a strange way to contribute to the Rose's "Shakespeare Revealed" programme in the month of that playwright's four hundred and forty-ninth birthday. Pirandello's play was a standard-bearer for the twentieth-century theatrical revolution which promised to dismantle the literary idols of the past, throwing the old classics onto what T.S. Eliot called a "heap of broken images". Though perhaps out of step with the Bard homage which the season proposes, the revival takes an opportunity like no other for an elegant conceptual gesture: what could possibly be more appropriate than to stage Modernism's favourite play literally in the ruins of a classical theatre?
Six Characters is a clever mind game, meditating on the nature of theatre and fiction in general. The Director at one point explains "We create an illusion here for the audience, in order to suspend their disbelief", but reality is a fluid concept in the world Pirandello conjures. Interrupting a rehearsal – originally for another play by the same author, here, for Henry V – six mysterious figures burst in on the director, abandoned by their creator and demanding to have their story told, complaining of the agony of their unreleased passion. Their tale slowly unfolds, dominated by the penitent but deceptive Father and his bitter, sneering Stepdaughter: a broken family, a terrible encounter in a brothel, and a horrible accident in which a small girl drowned. They bicker with the director over stage realism, unsatisfied when she introduces any artificial elements or artistic amendments: the mute Boy is introduced only for the Director to interject "oh, we'll cut him out; children are a nightmare", to the vocal disapproval of the family. By the end, the Director's view of reality has been radically fractured, and the play ends with her wail of existential angst, to the bemusement of the returning actors.
The performance space at the Rose is a shelf on the edge of a cavern: the archaeological site which provided the blueprint for the nearby Globe, now stripped to dusty stone, with a reflective pool of water in the base and lit gorgeously by the odd warm glow as well as neon red strips which reveal the skeleton structure of the lost theatre. Occasionally, when the Characters lapse into impotent silence, fragments of their story are enacted in dance, on the far side of what was presumably once the groundlings' pit. The space is a marvel and expertly used; even when the bulk of the action is in the small space at one edge, the sense of a dark chasm looming behind the actors lends spookiness and gravitas in equal measure.
The nod to Shakespeare in the prologue is well-judged to take advantage of the unique performance space. On the director's impatient command, the actress who doubles as the Stepdaughter launches into a familiar monologue: "O for a Muse of fire that would ascend/ the brightest heaven of invention..." This is Shakespeare at his most "meta", acknowledging that his stage is a bit small for the battle of Agincourt and pleading that the audience fill in the missing armies with their imaginations. It is also widely considered to be either a farewell to a theatre that the company were outgrowing, or a disingenuous celebration of the spanking new Globe – whose opulence made the Rose look old-fashioned and led to its abandonment for theatrical purposes by 1603.
Besides substituting Shakespeare for Pirandello's self-plagiarising, this adaptation by Manuela Ruggiero and Anthony Khaseria condenses the original by cutting the Actors out of the bulk of the play, doubling them with the Characters so that their storytelling is witnessed by the Director alone. The change suppresses some of the meta-theatrical jokes from the original, but allows a more sincere focus on the story which plagues the Characters. The opening rehearsal scene is refreshingly naturalistic, the actors muttering and mumbling over their grumpy director and a late cast-mate, making a striking contrast with the heightened reality once the Characters show up, all earnest speeches and intensity. The cast make the transition beautifully, and no meta-theatrical hijinks could dispel the agony which emanates from the Mother as the story unfolds. Relying largely on the magnificent performance space, the production is aesthetically muted, though the use of hats to denote character as a kind of meta-costume is witty and effective. Occasionally the sound and lighting cues are a little clunky, but if the atmosphere slips it is only for a split second.
Immersive and visually inventive, the performance more than delivers on its complicated conceptual promise, and makes a ninety-year-old play speak in new and fascinating ways. Sally Barnden: One Stop Arts:

University :
- University College London - PGCE, FE In the Performing Arts [Graduated with a PGCE and Pttls]
- The Royal Central School of Speech and Drama - MA in Applied Theatre [I am now an Honorary member and completed 9 Months]
- London Metropolitan - Joint BA Hons Degree Theatre Studies and Education. [2:1]

Prizes and Scholarships :
NoNameProductions

Other Qualifications :
Foundation Degree at Chelsea College of Art. I am also a Professional Director and Actor and an Equity member.

QTLS Qualified Performing Arts Teacher/Professional Director - Acting tutor with Charlotte

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QTLS Qualified Performing Arts Teacher/Professional Director - Acting tutor with Charlotte

Lesson location

About Charlotte

About the lesson

Rates

Rate

Pack rates

online

Other tutors in Acting

Valentine

Stu

Andrea

Carolyn

Tara

Jesse

Yana

Gabrielle

Dennis

Krista

GUSTAVO

Leonardo

John

Denisha

Jerome

Chanelle

Christopher

Sàvio

Grace

Davidtom

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