B. Slade Billew

Assistant Professor of Acting & Movement School of Theatre Stephen F. Austin State University PO Box 6090, SFA Station Nacogdoches, TX 75962 [email protected] Education Doctor of Philosophy in Theatre. Bowling Green State University. 2016. Dissertation: Holding on to the Basics: Using Sports Psychology to Increase Skill Retention in the Introduction to Acting Classroom. Major Advisor: Dr. Jonathan Chambers Performance Studies Certificate. Bowling Green State University. 2015 Master of Fine Arts in Theatre Pedagogy. Virginia Commonwealth University. 2008 Major Concentration in Directing/Acting Minor Concentration in Movement/Voice and Speech Thesis: Flow-acting: modern sports science and the preparation of actors. Major Advisor: Dr. Noreen Barnes Bachelor of Arts in Theatre. The College of William and Mary. 1996

Teaching Areas of Specialization My teaching focuses on acting, directing, and movement. I have strong focus in actor autonomy and safe stage intimacy practices. I am especially versed in contemporary methods of devised and physical theatre in addition to stage combat. Additionally, I have a strong interest in contemporary theory, performance history, Asian theatre, and technical theatre specifically lighting design.

Research Areas of Specialization My research revolves around the pedagogy of acting. I am engaged with questions of the interface between science and performance. My areas of focus within this realm are sports psychology, stress psychophysiology, and cognitive science. I am also engaged in the study of contemplative practices in relation to movement training. I am interested in blends of contemporary and traditional Asian theatre practice, the performance of identity in martial arts and combat sports, and movement as a form of knowledge making.

University Teaching Experience Assistant Professor. Stephen F. Austin State University. Fall 2016 – present THR 127: Movement I. Fall & Spring (Multiple Sections) Teach a blend of Contemplative practice, Developmental Movement and the Six Viewpoints. The focus is on self-research and actor autonomy. Introduce students to methods of Intimacy for the Stage and Unarmed Stage Combat. Have also taught the Suzuki Method in this class at times. THR 227: Movement II. Fall & Spring (Multiple Sections) Teach movement training for performers course focused on physical storytelling using Neutral Mask, Clowning, and Armed Stage Combat. THR 221: Beginning Acting. Fall or Spring Use the Michael Chekhov technique and basic Active Analysis exercises to introduce both acting and tech/design students to basics of realist script based acting.

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THR 223: Theatre Speech. Fall 2016 only Used a variety of games and basic vocal exercises to introduce both acting and tech/design students to basics of vocal health, support and interpretation of text. THR 242: Lighting Technology. Spring 2018 only Taught basics of theatrical lighting technology and design. Including basics of electrics work and design including drafting. THR 321: Intermediate Acting. Fall Teach realist script based acting. Using both Acrobatics of the Heart (Grotowski) and Active Analysis as a basis for script analysis and character creation. Focused on helping students find the tools and approaches within realistic acting methods that best suit their personal needs. THR 427: Advanced Acting. Spring Teach non-realist acting including both period styles (Elizabethan & Greek) and contemporary non-realist performance. The focus of the course is on developing tools to properly research and develop performance within the context of non-realist performance. Uses the Suzuki Method of Actor Training and other tools to develop a non-realist sense of space, time, and body use. THR 472: Performance Topics. Spring Teach a rotating collection of specialized topics in acting and performance. In the Spring of 2020 I taught a specialized course in Stage Combat called Fighting for the Stage. THR 491: Independent Study. Fall or Spring Work individually or in small groups with students on a variety of specialized topics. Topics have included: Stage Combat, Fight Choreography, Intimacy Choreography, Physical Theatre, Black Acting Methods, Working as a Teaching Artist, Acting Pedagogy. Visiting Assistant Professor. Stephen F. Austin State University. THR 227: Movement II. Spring 2016 (Three Sections) Taught three sections of a movement training for performers course. Focused on physical storytelling using Neutral Mask, Clowning, and Stage Combat. THR 241: Stagecraft. Spring 2016 Taught realist script based acting. Using both Stanislavsky and Michael Chekhov as a basis for script analysis and character creation. Focused on helping students find the tools and approaches within realistic acting methods that best suit their personal needs. THR 127: Movement I. Fall 2015 (Two Sections) Taught two sections of an introduction to movement training for performers course. Addressed general body awareness and expansion of movement capacity using elements of yoga, taiji, and Russian physical culture. Trained actors in the Viewpoints and Composition for the purpose of applying their newly developed movement skills in a performance context. THR 321: Intermediate Acting. Fall 2015, Spring 2016 Taught realist script based acting. Using both Stanislavsky and Michael Chekhov as a basis for script analysis and character creation. Focused on helping students find the tools and approaches within realistic acting methods that best suit their personal needs. THR 427: Advanced Acting. Fall 2015 Taught non-realist acting including both a range of period styles (Elizabethan, Restoration, Greek) and contemporary non-realist performance. The focus of the course was on developing tools to properly research and develop characters within the context of non-realist performance. Used the Suzuki Method of Actor Training to help the students develop a non-realist sense of space, time, and body use. 3 Billew

Graduate Teaching Assistant. Bowling Green State University. THFM 2020: Performance Studies I. Fall 2011, Fall 2012, Fall 2014, and Spring 2015 Taught an introduction to the concepts, principles, and techniques of performance studies to a class of twenty undergraduates. The class engages with ideas of the performance of identity with a focus on the nature of human communication. Additionally it utilizes a variety of creative performance projects. THFM 2410: Acting Principles. Fall 2011 – Fall 2013 Teach an introduction to Stanislavsky based acting and scene work to (16-18) undergraduate students. The class focuses on action and script analysis as well as scene work, basic movement and voice training. THFM 1410: The Theatre Experience. Fall 2012 – Fall 2013 Taught an introduction to theatre class that includes elements of theatre history, performance and technical practice. The course also introduces basic concepts from theatre theory and performance studies. I taught one section of 33 undergraduates, both major and non-major Assistant Teacher. Bowling Green State University. THFM 3450 Acting: Topics and Applications – Acting in Non-realistic Work. Fall 2011 Assisted Dr. Jonathan Chambers in teaching an upper level acting class focused on non- realist acting and devised theatre processes. Planned and taught a number of class sessions, as well as, coaching groups on their project work. Adjunct Faculty. 2006- 2008. Virginia Commonwealth University. THEA 361/362: Directing Fall 2007 – Spring 2008 Taught undergraduate directing to a group of twelve student directors in the BFA program. Engaged with both directing technique and theory culminating in a student directed one-act play festival, for which I oversaw production. THEA 491: Topics in Undergraduate Directing. Fall 2007 – Spring 2008 Supplementary course to the above course contained a group of eight to ten BFA actors who served as in class support for the directing students. These students were introduced to the fundamentals of directing by participating in the various projects of the students in the other class. THEA 108: Introduction to Stage Performance. Spring 2007 Taught a general education course in acting to a diverse population of twenty students. Focused on elements of Stanislavsky based acting, as well as, introductory movement and voice work. Emphasized scene and monologue work. SPCH 121: Effective Speech. Fall 2006 Instructed twenty students from across various departments of the university in the fundamentals of public speaking. Focused on elements of making a logical argument, and methods of effectively presenting opinions in a variety of settings. Teaching Assistant. Virginia Commonwealth University. THEA 103: Stagecraft. Spring 2008 Assisted in the instruction of basic set construction including tool use, and safety for two sections of twenty students each. Organized and supervised teams of students as they constructed sets. THEA 211/212: Introduction to Drama. Spring 2007 – Fall 2008 Taught a section each semester of twenty undergraduate students basic elements of script analysis. Lead discussions of assigned plays. Taught the basics of written and oral communication. Administered and graded various tests and quizzes.

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Substitute Teacher. Virginia Commonwealth University THEA 114 Acting I. Spring 2007 Taught freshman BFA track acting for a full month and at occasional other times to a class of twenty students. Worked on basics of the Suzuki Method and Stanislavsky based approaches. Coached actors in scene and monologue work in preparation for assessment and cattle call auditions

Faculty Production Advising. Stephen F. Austin State University. Advise the directors of two student productions per semester from initial concept and casting through production. This includes 10 minute plays, one-acts, and full lengths. Virginia Commonwealth University. Advised two undergraduate directed productions in the spring of 2008. Commented on casting, attended rehearsals and offered directorial and production advice on The Merchant of Venice and on Duranged (a collection of one acts).

Non-University Teaching Teacher. 1997 – 2016. Performing Arts Dept. Head. 2001- 2016. Brilliant Summer. Richmond, VA. Teach classes ranging from stage combat to play production at Saint Catherine’s Creative Arts Program a summer camp serving nearly one thousand campers annually. Teach six classes per day, oversee the technical production side of the camp and direct plays performed by sixth to tenth graders. As Performing Arts Department Head, I oversee a staff of around twenty teachers and assistants. Design departmental class offerings and assist in the hiring of staff. Upper Program Theatre Teacher. 2009 – 2010 Seven Hills School. Richmond, VA. Seven Hills is a private alternative middle school for boys. I developed curriculum and instructed 7th & 8th graders in the foundations of theatre. Organized and rehearsed performance of original student work. Selected and produced two spring plays. Contributed to the overall curricular development of the school through meetings and discussions. Interacted with parents around grades and student growth. STAGES Teacher. 2000 – 2010 SPARC. Richmond, VA. Travelled to schools and community centers around the city to instruct five to eighteen year olds in the basics of performance both in school and in after-school programs. These programs ran between six and fourteen weeks. Worked largely with at-risk youth as well as students with mental and physical disabilities. As the onsite representative for SPARC, I managed site issues and maintained lines of communication with program organizers Lead Teacher, Ettrick Program. 2009. Theatre IV. Richmond, VA. Under the auspices of Theatre IV Virginia’s largest Children’s Theatre I taught acting for several weeks at Ettrick Elementary School. Created a final performance with a group of 4th-5th graders. Hired a team teacher, and interfaced with school staff and parents regarding program needs and final production. Drama Director. 2005 – 2008. St. Gertrude High School. Richmond, VA. Cast, directed, and managed various aspects of design on a musical and a play each year at a Catholic girls high school. In this capacity Interfaced regularly with school administration over play choice and scheduling conflicts. Teacher. 1998 – 2007 SPARC. Richmond, VA. Instructed five to eight year olds in the basics of performance, and prepared a yearly showcase performance with the children.

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Workshop Teaching Stage Combat. SFA One Act Play Festival. February 2020. Taught basics of unarmed stage combat to two groups of visiting high school students. Martial Arts for Scene Work. Louisiana Thespians. January 2020. Taught principles of intent and connection from internal martial arts to make action choices in scene work. Intimacy and Consent in Improvisation. Improv Strikes Back. April 2019. Taught principles of engaging touch with consent while improvising to SFA’s Improv Company. Historical Fighting Methods and the Performance of Masculinity. Texas A & M. April 2019. Taught two workshops for students at Texas A & M for the History of Performance in the Common Era for Dr. Angenette Spalink. I introduced them to the basics of both historical and theatrical use of two different weapons platforms and explored how the use of these tools of war shapes historical ideas of masculinity. Stage Combat and Unarmed Stage Combat. SFA One Act Play Festival. February 2019. Taught basics of unarmed stage combat to visiting high school students. Sports Psychology and Martial Arts. SFA Philosophy Department. January 2019. Presented a lecture and workshop for Dr. Anne Smith’s Philosophy in the Martial Arts course. Unarmed Stage Combat. SFA One Act Play Festival. February 2018. Taught basics of unarmed stage combat to visiting high school teachers. Unarmed Stage Combat. SFA One Act Play Festival. February 2018. Taught basics of unarmed stage combat to visiting high school students. Stage Combat Taster. SFA School of Music. December 2017. Taught a general overview of stage combat to Graduate Students in the Opera Program in the School of Music. Unarmed Stage Combat. SFA One Act Play Festival. March 2016. Taught basics of unarmed stage combat to visiting high school students. Finding Flow in Fighting Workshop. Texas Educational Theatre Association. January 2016. Dallas, TX. Taught applications of martial arts principles as a basis for logical sequencing in stage fights. Structural Integration Workshop. BGSU. April 2014. Bowling Green, OH. Taught structural integration using elements of Chinese Internal Martial Arts as a guest instructor in a hour long session for Dr. Michael Ellison’s Acting for Dancers course. Effectively Efficient Movement Workshop. BGSU. March 2014. Bowling Green, OH. Taught movement efficiency principles derived from Sports Performance research as a guest instructor in a hour long workshop to Dr. Michael Ellison’s Acting for Dancers. Physical Theatre Workshops. BGSU. January and February 2013. Bowling Green, OH. Co-Taught with Angenette Spalink a series of physical theatre workshops that introduced the work used in our production of Naomi Iizuka’s Skin. Public Speaking Stress Management Workshop. BGSU. October 2012. Bowling Green, OH. Taught a ninety minute workshop on managing anxiety in public speaking to students studying for the leadership certificate. Performance Stress Management Workshop. BGSU. October 2012. Bowling Green, OH. Taught an hour and a half long workshop on managing performance anxiety for Dr. Michael Ellison’s Audition Technique class. Stage Combat Workshop. Horizon Youth Theatre. November 2011. Bowling Green, OH. Taught a one and a half hour introductory unarmed stage combat workshop to a group of eleven 5th – 9th graders.

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Stage Combat Workshops. Toledo School for the Arts. Nov. ‘11 and March ‘12. Toledo, OH. Taught an introductory unarmed stage combat workshop to three classes of acting students at an arts middle school. Viewpoints Workshops. Toledo School for the Arts. October 2011. Toledo, OH. Taught an introductory Viewpoints workshop to four classes of seventh graders at the Toledo School for Arts. Focused specifically on tempo, shape and architecture with an emphasis on the application of this work to monologues. Physical Conditioning and Movement Enhancement for Actors. BGSU. Fall 2010. Led two workshops for Dr. Michael Ellison’s THFM 3450 course on Presence in performance. Used the Circular Strength Training System to give students tools to recognize and address movement limitations or strength deficits that hamper their performance skills. Stage Combat Workshops. Curtains Up, Lights Out! at Theatre IV. Spring 2010. Richmond, VA I taught a series of introductory unarmed stage combat workshops at two overnight camp events for Theatre IV. Stage Combat Workshop at Centre Stage for Theatre IV and Richmond Shakespeare Festival. January 2010. Richmond, VA. I taught an introductory unarmed stage combat workshop for the grand opening of Centre Stage a performing arts venue in Richmond, VA.

Curriculum Development Curriculum Committee Chair. SFA. Fall 2017 – present. Head the committee to research curricular concerns for the School of Theatre and report to the Director and larger faculty. BFA Program Redesign. SFA. Fall 2017. Worked with the faculty to redesign the program for BFA Acting and Directing students at SFA. This included making the internship requirements more flexible and creating an additional course. Course Catalogue Update. SFA. Fall 2016. Participated in Committee within the school of theatre to Update our course catalogue to more accurately reflect current curriculum. Course Coordinator, THFM 2020 Performance Studies. BGSU. 2014 – 2015. Under the guidance of Course Supervisor, Dr. Lesa Lockford, I created and edited various course documents for the Performance Studies course. This included over seeing a major redesign and textbook change for which I developed a new syllabus and teaching manual, among other documents. Further I ran weekly staff meetings in which I guided the pedagogical choices of the other instructors of the course. Finally, I was the first line of support for other instructors. Warrior Archetype. VCU. 2007. While studying at VCU I was exposed to the Archetype training developed by Janet Rodgers and Frankie Armstrong. As part of the course I created a new Archetype journey for the Warrior archetype, which was previously non-existent. I taught the work I had developed both to my class of MFA students and to a subsequent class of BFA students who were learning the Archetype work. The work that I did was later slightly modified by Frankie Armstrong and is now included in the system and in the recently published Acting and Singing with Archetypes (Limelight 2009) by Janet Rodgers & Frankie Armstrong. Class Design. Cat’s CAP. 2001 – 2010 In my capacity as Performing Arts Department Head I regularly developed new classes for the curriculum of this summer arts camp. This process included writing course descriptions for the brochure, and coaching incoming staff on the teaching of these classes. 7 Billew

Magicadabra SOL. SPARC. I worked with the Richmond Department of Parks and Recreation to design a program using theatre to help prepare children for Standards of Learning (SOL) Testing. This involved creating a curriculum that uses theatre as an educational medium to teach basics of math, science, and language. Subsequently, I trained a group of teachers in the use of this curriculum, and acted as a resource for these teachers as they implement the program within seventeen public schools in the Richmond area.

Conference Presentations Roundtable: Strategies for Early Career Faculty and Small Theatre Programs. Mid-America Theatre Conference. March 2020. Chicago. “Discovering the Original Anarchist: the Six Viewpoints for Encouraging Artistic Character in the Movement Classroom.” Workshop Presentation. Mid-America Theatre Conference. March 2018. Milwaukee, WI. “Turning on the Inside: Suzuki Training through the Lens of Internal Martial Arts.” Paper Presentation. Mid-America Theatre Conference. March 2017. Houston, TX. “What’s the Problem Here?: distinguishing between skill deficiencies and attribute deficiencies in the acting and movement classroom.” Workshop Presentation. Southeastern Theatre Conference. March 2017. Lexington, KY. “Keeping It Together: Managing the Pressures of Performance.” Workshop Presentation. Southeastern Theatre Conference. March 2017. Lexington, KY. “Engaging Space in Performance: Your Second Scene Partner.” Working Group Member. American Society for Theatre Research. November 2016. Minneapolis, MN. Working Group: Training/Trans--: Performance Training as Translation, Transfer, Transformation, and Transition. Paper: “From the Ring to the Studio: Translating Combat Sport Training Methods into Actor Training.” Paper Presentation. Association of Theatre Movement Educators Pre-Conference. August 2016. Chicago. “Where Are We Going Now?: the role of mental predictions in devising movement scores through structured improvisation.” Working Group Member. American Society for Theatre Research. November 2014. Baltimore, MD. Working Group: Dynamic Systems, Situatedness, and “What (or Who?) Performs?”: Cognitive Science in Theatre, Dance, and Performance. Paper: “Calling Back and Forth: Enactive Interplay Between Audience, Scene Caller, Actors, and Sound in an Improvisational Performance. Performance. American Society for Theatre Research. November 2014. Baltimore, MD “All the Bodies in the Room: A Dance-Theatre Exploration of the Porous Body.” Paper Presentation. The International Congress of Qualitative Inquiry. May 2014 Champaign-Urbana, IL. “Hard Ground is a Good Teacher: Place as Partner in Russian Martial Arts Practice.” Paper Presentation. GuSTO Colloquium. April 2014. Bowling Green, OH. “Warming Up to Stress: A Cognitive and Somatic Exploration of the Acting Class Warm Up as Training for Performance Pressure.” Paper Presentation. Mid-America Theatre Conference. March 2014. Cleveland, OH. “(Re)Visioning the How of Acting Pedagogy: Applying Sports Psychology in the Beginning Acting Classroom.” Paper Presentation. (Corpo)realities Conference. March 2013. Bloomington, IN. “Their Bodies Are Also Mine: Extended Cognition Meets Becoming in a Physical Theatre Rehearsal Room.” (Co-written with Angenette Spalink) 8 Billew

Workshop Presentation. Southeastern Theatre Conference. March 2013. Louisville, KY. "What to Hit Next?: Creating Flow in Fights" "Choking on Stage: Overcoming Stress in Performance." Paper Presentation. Mid-America Theatre Conference. March 2013. St. Louis, MO “Inside/Out or Outside/In: Shedding Light on an Acting Myth By Exploring the Embodied Origins of Thought.” Working Group Member. American Society for Theatre Research. November 2012. Nashville. Working Group: Embodied Archives: Movement, Memory, and Historiographies of the Body Paper: “Bodies from the Past: Archiving Identity Through Kata Training in the Koryu Bujutsu of Japan.” Lecture/Workshop. Interdisciplinary Arts Conference. April 2012. Athens, OH. “Freezing and Choking on Stage: Blending sports psychology into performance practice to better understand and manage performative stress.” Paper Presentation. Africana Studies Conference March 2012. Bowling Green. “Love the Things I Dreamed: Christoph Schlingensief’s Operndorf Afrika.” Workshop Presentation. Southeastern Theatre Conference. March 2012. Chattanooga "Expanding Movement Possibilities Using Elements of Russian and Cossack Folk Dance." "Devising Staging through Partnering." Paper Presentation. Mid-America Theatre Conference. March 2012. Chicago “Working with the Whole Body/Mind: Using Cognitive Science to Enhance Ensemble Work in the Suzuki Method of Actor Training.” Paper Presentation. Art of Public Memory Conference. March 2011. Greensboro “(Re)membering Emotion Memory: Interrogating the Role of Affective Memory in Actor Training in Light of Cognitive Neuroscience” Workshop Presentation. Southeastern Theatre Conference. March 2011. Atlanta "Connections between Martial Arts and the Training of Actors" "Methods for developing stage presence through sports psychology" "The use of Anne Bogart’s Composition Work for Devising and Rehearsal." Workshop Presentation. Southeastern Theatre Conference. March 2010. Lexington. "Designing Character Specific Exercise Programs" "Exploring the Role of Emotion in the Viewpoints" "Biomechanics of Fighting Movements: Part II, Throwing and Wrestling" Workshop Presentation. Southeastern Theatre Conference. March 2009. Birmingham. "Physical Conditioning and Health for Performers" "The Viewpoints for Scene and Monologue Work" "Biomechanics of Fighting Movements" Workshop Presentation. Southeastern Theatre Conference. March 2008. Chattanooga. Acting in "the Zone": Sports Science and Flow-state in the Preparation of Actors Presenter, Director, and Performer. Mid America Theatre Conference. Feb. 2008. Kansas City Presented paper “From Presence to Flow: Modern Sports Psychology in the Preparation of Actors” Directed The Risque Root as part of the Playwrights Symposium Acted in One Shot Deal and Soap Lake as part of the Playwrights Symposium

Academic Publications Book Review: "What’s the Story: Essays about Art, Theater and Storytelling by Anne Bogart (review)." Theatre Topics 24.3 (2014): 275-276.

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General Interest Publications “Choosing Your Progression” RMAX Magazine Volume 7 Issue 6 November 2009 “Teaching Yourself to Teach Others” RMAX Magazine Volume 7 Issue 4 July 2009 “Pedagogy of Flow” RMAX Magazine Volume 7 Issue 2 March 2009 “Create Your Own Journey” CST Magazine Volume 3 Issue 8 August 2005 “CST for Bellydance” CST Magazine Volume 3 Issue 6 June 2005 “Exercise Focus: Seal Walk” CST Magazine Volume 3 Issue 6 June 2005 “The Actors’ Guild” CST Magazine Volume 2 Issue 9 September 2004 “RMAX for Teachers” CST Magazine Volume 2 Issue 9 September 2004

Awards Professional Development Funding Award. To present at the Mid-America Theatre Conference. Spring 2020. Professional Development Funding Award. To attend two-week Acrobatics of the Heart/Viewpoints Workshop. Summer 2019. Excellence in Fight Choreography for Sweat. KCACTF Region 6, Texas State Festival. Faculty of the Month Award. National Residence Hall Honorary. March 2018. Professional Development Funding Award. To attend the National Stage Combat Workshop Advanced Actor Combatant Track of the Society of American Fight Directors. Summer 2018. Professional Development Funding Award. To present at Mid-America Theatre Conference. March 2018. Professional Development Funding Award. To attend the National Stage Combat Workshop Actor Combatant Track of the Society of American Fight Directors. Summer 2017. Professional Development Funding Award. To present at The American Society of Theatre Research Conference November 2016. Best Director. Theta Alpha Phi Elsewhere Awards 2013 for Skin. BGSU. Best Director & Best Play. Theta Alpha Phi Elsewhere Awards 2011 for Pilgrims of the Night. BGSU. The Commonwealth Award in Art (Scholarship.) 2007 – 2008. VCU.

Professional Affiliations Association of Theatre Movement Educators Kennedy Center American College Theatre Festival, Region 6 Mid America Theatre Conference. Society of American Fight Directors

Service Departmental Service Inclusion, Diversity, Equity, and Accessibility Initiative. SFA. Summer 2020 – present Directing Supervisor, 24-Hour Play Festival. SFA. Fall 2018 - present Advisor for Speak Up!: Devised Theatre. SFA. Fall 2016 – present Devised Performance Advisor for School of Theatre Entry in the KCACTF Devising Competition. Kennedy Center American College Theatre Festival Region 6. Fall 2018 – February 2019. Co-Advisor for the Fredonia Players. SFA. 2018 – 2019. BFA Coordinator. SFA. 2017 – present. Audition Organizer for Texas Shakespeare Festival Visit. SFA. 2017. Search Committee Member, Assistant Professor of Scenic Design. SFA. February 2018. Devised Performance Advisor for School of Theatre Entry in the KCACTF Devising Competition. Kennedy Center American College Theatre Festival Region 6. Fall 2017 – January 2018. Recruitment at Greater San Antonio Area Auditions. San Antonio, TX. November 2017. 10 Billew

Student Travel Supervisor for Edinburgh Festival Fringe. Edinburgh, Scotland. August 2017. Recruitment at Edinburgh Festival Fringe. Edinburgh, Scotland. August 2017. Recruitment at Rose Bruford College. Rose Bruford College, UK. May 2017. Theatre Day Coordinator. SFA. 2016 – 2017. Search Committee Member, Director of the School of Theatre. SFA. April 2017. Search Committee Member Assistant Professor of Acting and Voice. SFA. March 2017. Search Committee Chair, Technical Director. SFA. December 2016. Recruitment at Greater Houston Area Auditions. Houston, TX. November 2016. Search Committee Member, VAP in Acting and Voice. SFA. July 2016. Moderated Q & A between students and playwright John Cariani. SFA. April 2016. Moderated Q & A between students and actors from LA Theatre Works. SFA. February 2016. Student Recruitment at Texas Educational Theatre Association. SFA. January 2016. Grant-in-Aid Audition Adjudicator. BGSU. February 2015. Grant-in-Aid Audition Adjudicator. BGSU. February 2015. Co-organizer of Movement Mondays Workshops. BGSU. 2012-2014 Grant-in-Aid Audition Adjudicator. BGSU. February 2013. President of Graduate Student Theatre Organization. BGSU. 2012-2013 Vice President of Graduate Student Theatre Organization. BGSU. 2011-2012. Moderator for discussion with members of Skewed Visions. Graduate Seminar. Fall 2011.

University Service Scholarship Committee Chair. SFA. 2020 – present. Library Committee Member. SFA. 2019 – present. Undergraduate Research Initiative Advisory Committee. SFA. 2018 – present. New Faculty Orientation Committee. SFA. 2018 – present. Scholarship Committee Member. SFA. 2016 – 2020. Student Group Advisor for Speak Up. SFA. 2016 – present. Presenter at the Dean’s Circle Awards. SFA College of Fine Arts. September 2017. Student Group Advisor for Improv Strikes Back. SFA. 2016 – 2017. Senator for the Department of Theatre and Film to the Graduate Student Senate. BGSU. 2011 – 2012. Proxy Senator for the Department of Theatre and Film to the Graduate Student Senate. BGSU. 2010 – 2011.

Public Service Devised Initiative Coordinator. KCACTF Region 6. Spring 2020 – present. Devised Initiative Vice Coordinator. KCACTF Region 6. Fall 2019 – Spring 2020 Respondent. KCACTF Region 6. 2016 – present. Informance Presentation on Harold Pinter. SFA University Series. September 2016. Living Historian Coordinator. San Augustine Heritage Festival. San Augustine, TX. May 2016. UIL-One Act Play Festival Workshop Respondent. SFA February 2018. UIL-One Act Play Festival Workshop Respondent. SFA February 2016.

Professional Training and Experience Specific Performance Training Background and Teachers Acrobatics of the Heart (Grotowski): Stephen Wangh, Nora Wooley, Lizi Watt Acting with Archetypes: Janet Rodgers and Frankie Armstrong Alba Emoting: Janet Rodgers Boal: Bruce McConachie 11 Billew

Body Mind Centering: Bonnie Bainbridge Cohen, Erika Berland, Wendell Beavers Composition: Anne Bogart Developmental Movement: Erika Berland, Wendell Beavers Devised Theatre: Jadranka Andjelic, Anne Bogart Eastern European Physical Theatre: The Dah Theatre Grassroots Theatre: Bruce McConachie, Dudley Cocke, Robbie Mcauley Intimacy for the Stage: Tonia Sina, Claire Warden, Adam Noble, Ashley White, Dan Granke IPA: John Deboer Mask Work: Richard Palmer, Daniel Ruth Meisner: Steve J. Earle, Kristin Kundert-Gibbs Mime: David Leong Michael Chekhov Technique: Michael Chekhov Association (various teachers) Lecoq Based Movement: Aaron Anderson Shakespeare: Janet Rodgers Six Viewpoints: Wendell Beavers Stage Combat: see detailed section below Suzuki and Viewpoints: SITI Company Voice and Speech: Janet Rodgers

Selected Professional Directing Experience (full list available on request) Thom Pain (based on nothing) Dislocated Theatre Will Eno May 2019 Closed for Repairs Edinburgh Festival Fringe Bobby Britton August 2017 Call Me Crazy Independent Project Devised May 2017 Closed for Repairs Brazosport Center Stages Bobby Britton March 2017 Matilda Independent Project Devised Dance-Theatre Piece November 2013 As You Like It Beautiful Kids Shakespeare May 2013 Falling From Orbit Lionface Productions Brent Winzek February 2011 Sex, Love, and Elephants Independent Project Devised work based on text from Charles Mee July 2009 Mexico: A Love Story Independent Project Devised work developed from text by Bonnie Gabel May/June 2008 Polaroid Stories Independent Project Naomi Iizuka December 2007 The Jesus Rose (365days/365plays) Independent Project Suzan-Lori Parks April 2007 12 Billew

Periodicity New Voices for the Theatre Nate Peterson July 2006 The Burning Ode Theatre of Operations Company Devised April 2004 Operation Hamlet Theatre of Operations Company Devised September 2003 The Cure Theatre of Operations Richard Foreman December 1998 Betting on the Dust Commander Theatre of Operations Suzan-Lori Parks May 1998 Selected Academic Directing Experience (full list available on request) The Tempest (Online) SFA Summer Stage Shakespeare June-July 2020 A Dislocated Moment SFA Repertory Dance Company An Original Dance Piece February 2020 Pullman, WA SFA Downstage Young Jean Lee November 2019 The Reluctant Dragon SFA Summer Stage Mary Hall Surface June-July 2019 Mr. Burns: a post-electric play SFA Mainstage Anne Washburn November 2017 Julie and Ellie Fest. of New American Plays Chiori Miyagawa April 2016 Arabian Nights (Co-Director) SFA Mainstage Mary Zimmerman October 2015 The Driver’s Test Brilliant Summer Don Zolidis July 2015 One by Four (1x4) (Co-director) Elsewhere @ BGSU Long Form Improvisation show April 2014 Skin Elsewhere @ BGSU Naomi Iizuka February 2013 The Hamlet Thrill-ma-geddon Brilliant Summer Don Zolidis August 2012 Miss Beth Brilliant Summer Don Zolidis July 2012 Arabian Nights (Asst. Director) BGSU Mainstage Mary Zimmerman February 2012 Pilgrims of the Night Elsewhere @ BGSU Len Jenkin March 2011 13 Billew

Prometheus Reimagined (Co-director) Elsewhere @ BGSU Aeschylus reimagined by JP Staszel November 2010 Old Macbeth Had a Farm Seven Hills School Tim Kochendorfer April 2010 Medea: A Noh Cycle (Asst. Director) Henrico Center for the Arts Carol Sorgenfrei October 2009 Medea Brilliant Summer Christopher Durang & Wendy Wasserstein July 2008 Disappearance: The Clifford Deaton Story VCU: Minimalist Monday Emily Oye September 2007 The Importance of Being Earnest St. Gertrude High Oscar Wilde April 2007 Oklahoma! St. Gertrude High Rodgers & Hammerstein November 2006 Guys and Dolls St. Gertrude High Abe Burrows and Jo Swerling November 2005 Rosencrantz & Guildenstern are Dead Trinity Episcopal School Tom Stoppard October 2004 The Tragedy of King Lear Cat’s CAP William Shakespeare (ed. Slade Billew) July 2004 Conference of the Birds Cat’s CAP Peter Brook & Jean Claude Carriere July 2002

Acting Coaching Irene Ryan Coaching SFA Spring 2017 - present BFA Wringer SFA Spring 2017 - present Weekly Actor Coaching Sessions SFA Fall 2016 - present Actor’s Lab BGSU Fall 2011 and 2013 Annie Jr. Albert Hill Middle ‘05 A Christmas Play Albert Hill Middle ‘04

Acting Experience Show Role Producer The Reluctant Dragon St. George(understudy) SFA Summer Stage The Stranger (reading) Hush Independent Project Bad Ass Vixen 2 (film) Killer BAV Productions Kin Sean Broken Spectacle Bad Ass Vixen (film) Killer BAV Productions Craigslist Project (film) Villain BGSU Film Arabian Nights Boy and others BGSU Mainstage A Midsummer Night’s Dream Oberon Beautiful Kids Prometheus Reimagined Hephaestus BGSU Elsewhere Alice Humpty Dumpty Nightlight Collective 14 Billew

Fire & Water Sahid Fluxus Ha! Inanna and the Healing Temple Judge and Ensemble Fluxus Ha!

Stage Combat Certifications and Teachers Certification Organization Date Certified Actor/Combatant Society of American Fight Directors 2018 Recommended Pass, Broadsword Society of American Fight Directors 2019 Recommended Pass, Quarterstaff Society of American Fight Directors 2018 Pass, Knife Society of American Fight Directors 2018 Pass, Smallsword Society of American Fight Directors 2018 Pass, Sword & Shield Society of American Fight Directors 2018 Pass, Rapier and Dagger Society of American Fight Directors 2018 Pass, Unarmed Society of American Fight Directors 2017 Theatrical Combatant-Unarmed Dueling Arts International 2009 Theatrical Combatant-Rapier and Dagger Dueling Arts International 2009

Stage Combat Teachers Sword & Shield (30hrs SAFD) – Chuck Coyl Smallsword (30hrs SAFD) – Chuck Coyl, Adam Noble Rapier and Dagger (30hrs SAFD, 20hrs DA) – Geoffrey Alm, Aaron Anderson Unarmed (30hrs SAFD, 20hrs DA) – Chuck Coyl, Aaron Anderson Broadsword (60hrs SAFD) – Michael Chin, Ian Rose, Dan Granke Knife (45hrs SAFD) – Michael Johnson, Chuck Coyl Quarterstaff (45hrs SAFD) – Adam Bagleareau, Chuck Coyl --Shorter training periods in various other weapons at SAFD Regional Workshops

Martial Arts Training Experience in Tai chi chuan, Hsing-I chuan, and CDF Kali Instructor licenses in Systema R.O.S.S. and Softwork Black belt level training in Bujinkan Budo Taijutsu. Additional experience in Hapkido, & Tae Kwon Do

Fight Choreography Titus Andronicus SFA Mainstage ‘19 The Reluctant Dragon SFA Summer Stage ‘19 Cat on a Hot Tin Roof SFA Mainstage ‘19 Zoo Story SFA Downstage ‘19 Sweat SFA Mainstage ‘18 Oklahoma SFA Mainstage ‘18 …And the Pursuit of Happiness 1994 SFA Mainstage ‘18 Sorry, Not Sorry SFA Mainstage ‘18 Hot Flashes SFA Mainstage ‘18 Untitled #2 SFA Upstage ‘18 Antigone in New York SFA Downstage ‘18 Mr. Burns: a post electric play SFA Mainstage ‘17 The Miracle Worker SFA Summer Stage ‘17 The Skin of Our Teeth SFA Mainstage ‘17 By the Bog of Cats SFA Mainstage ‘16 15 Billew

Bloody Bloody Andrew Jackson SFA Mainstage ‘16 Cul-De-Sac SFA Mainstage ‘16 Bury Me in This SFA Mainstage ‘16 Julia and Ellie SFA Mainstage ‘16 Macbeth SFA Mainstage ‘15 Urinetown BGSU Mainstage ‘15 Mr. Marmalade BGSU Elsewhere ‘15 The Memory of Water BGSU Mainstage ‘15 Crawlspace (film) BGSU Film ‘14 Night of the Living Dead BGSU Mainstage ‘14 Exit Pursued by Bear Broken Spectacle ‘14 Bad Ass Vixen 2 (film) Independent ‘14 Mulan Junior Horizon Youth Theatre ‘14 Romeo and Juliet Lionface ‘14 The Liar BGSU Mainstage ‘13 The Illusion BGSU Elsewhere ‘13 The Mousetrap Valentine Theatre ‘13 Bad Ass Vixen (film) Independent ‘13 Abundance BGSU Mainstage ‘13 Dr. Faustus Lionface Productions ‘12 Hamlet Beautiful Kids ‘12 The Suessification of Romeo and Juliet Toledo Rep ‘12 Arabian Nights BGSU Mainstage ‘12 Prometheus Re-imagined BGSU Elsewhere ‘11 Antony & Cleopatra Richmond Shakespeare ‘10 Othello Richmond Shakespeare ‘10 Fool for Love Cadence Theatre Co. ‘10 True West Henley Street Theatre ‘09 Pulp Richmond Triangle Plyrs ‘09 One Flew Over the Cuckoo’s Nest Henley Street Theatre ‘09

Intimacy Choreography Pride and Prejudice SFA Mainstage ‘19 Titus Andronicus SFA Mainstage ‘19 Dancing at Lughnasa SFA Downstage ‘19 These Shining Lives SFA Downstage ‘19 Cat on a Hot Tin Roof SFA Mainstage ‘19 Oklahoma SFA Mainstage ‘18 …And the Pursuit of Happiness 1994 SFA Mainstage ‘18 Sorry, Not Sorry SFA Mainstage ‘18 Hot Flashes SFA Mainstage ‘18

Movement Coaching/Choreography The Reluctant Dragon SFA Summer Stage ‘20 Biedermann and the Firebugs SFA Mainstage ‘18 Tartuffe SFA Mainstage ‘17 The Skin of Our Teeth SFA Mainstage ‘17 By the Bog of Cats SFA Mainstage ‘16 16 Billew

Arabian Nights SFA Mainstage ‘15 Urinetown BGSU Mainstage ‘15 Night of the Living Dead BGSU Mainstage ‘14 Drunken City Broken Spectacle ‘14 Most Massive Woman Wins BGSU Elsewhere ‘13 Arabian Nights BGSU Mainstage ‘12 Prometheus Re-imagined BGSU Elsewhere ‘11 Medea: A Noh Cycle Based on the Greek Myth Henrico Center/Arts ‘09 Fatherhood:Rethought Independent Project ‘08

Technical Experience Lighting Design First Baptist of Ivy Gap Barksdale at Hanover ‘10 Fool for Love Cadence Theatre Co. ‘10 Bus Stop Barksdale at Hanover ‘09 I’m Not Rappaport Chamberlayne Actor’s ‘09 Fully Committed Barksdale at Hanover ‘09 I Ought to Be in Pictures Barksdale at Hanover ‘09 Mona’s Arrangements Barksdale at Hanover ‘09 Sander’s Family Christmas Barksdale at Hanover ‘08

Other Technical Positions Graduate Assistant Scene Shop BGSU ’11 – ‘14 Sound Design: One by Four (1x4) BGSU ‘14 Sound Design: Blue Orange BGSU ‘14 Sound Design: Most Massive Woman Wins BGSU ‘13 Departmental Master Electrician BGSU ‘11 – ‘12 Production Manager for Skewed Visions “The Car” BGSU Fall ‘11 Deck Crew: A Christmas Carol Theatre IV ‘09 Master Electrician: Souvenir Barksdale at Hanover ‘09 Spot Operator: Annie! Theatre IV Assistant Stage Manager: Best Christmas…Ever Theatre IV ‘08 Assistant Stage Manager: Driving Miss Daisy Barksdale at Hanover ‘08 Technical Supervision Cat’s CAP ’94 – 2016 Stage Mgr: The Devil Inside Theatre Gym 1997 Stage Mgr: The Boys Next Door Theatre Gym 1996

Administrative Experience Producer. Undergraduate Directing Showcase. VCU 2008 Oversaw the production of student directed one-act festival. Scheduled spaces, ran meetings, and communicated with faculty. Resolved conflicts between directors, supervised production and marketing, and sat in on rehearsals to offer constructive feedback to directors. Co-Producer. First Year Discovery Project. VCU. 2007 Organized the production of graduate directed one-act festival performed by undergraduate actors. Responsible for scheduling spaces, running meetings, and communicating with faculty. Resolved conflicts between directors, and managed actor issues and conflicts. Organized the 17 Billew

technical aspects of the festival, sat in on rehearsals and offered constructive feedback to directors, and coached the Master of Ceremonies on his role. Assistant to the Director. 2003- 2006. Cat’s CAP. Helped in the organization of a summer camp serving over 900 students annually. Conducted interviews, and hired staff. Assisted in all phases of brochure production and organizing staff schedules. Interfaced with St. Catherine’s staff about summer staffing and space usage issues and communicated with the public both over the phone and in person regarding registration and class choices. Artistic Director. Theatre of Operations. 1997 - 2004 Founded and ran a small experimental theatre company in Richmond, VA. Selected, cast, and directed seasons of plays, organized and created marketing, and located and negotiated contracts for a variety of performance spaces. Ran regular actor training sessions for the company, and taught performance classes for adults in the community. Assistant Box Office Manager. Theatre Virginia. 1997 – 1999 Trained and oversaw box office staff at a LORT-D theatre. Sold tickets in person and over the phone. Resolved customer issues, processed payment records and prepared bank deposits.