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Brett believes in a student-centered approach that seeks to ignite a desire for life-long learning. |
With professorships at Stephens College, the University of North Dakota, and Western Illinois University, Brett has taught both performance and analysis courses to students ranging from undergraduates to MFA candidates in person, online, and in dual modalities. Outside the classroom, Brett forges strong mentorship relationships in and out of rehearsal. His former students have worked on National Tours, in the cruise line industry, in Regional Theatre, and have furthered their studies in Graduate programs.
TEaching Philosophy
Members of the Search Committee,
I believe the best way to teach theatre is by letting students get up and practice what they learn. From day one, I mix theory with hands-on activities, combining readings with practical application. Team-based learning and group exercises help students understand and apply theoretical concepts to their projects. This approach helps them quickly master various techniques and build confidence in tackling the challenges of performance and the profession. A successful teaching day, to me, is when a student thinks, feels, or says, “I can do this.” I aim to create an ensemble-based classroom where students celebrate and learn from each other’s discoveries, which not only enhances their learning but also prepares them for the real world. By focusing on these practical, project-based methods, I hope to develop students into confident, capable, and innovative theatre practitioners.
One of the biggest challenges faced by theatre students is balancing the art of theatre with the business side. To help them overcome this, I believe in offering a “tool kit” of techniques they can use in their work. While my approach to peformance is rooted in the Stanislavskian system, I also emphasize exploring Meisner, Adler, Hagen, Chekhov, Laban, Linklater, and the First Folio Technique. My goal is to help them develop their own individual performance practice. Equally important is understanding the business side, so graduating seniors feel confident following industry standards. In the classroom, this means regularly assigning self-tapes, maintaining up-to-date casting profiles on standard websites, and conducting research projects on major market opportunities. Outside the classroom, I keep an open-door policy for anything “Biz of the Biz” related, offering personalized mentorship and soft-skill problem solving. This approach enhances their versatility as creatives and equips them to navigate and adapt to diverse creative situations confidently.
To assess student learning effectively, I use several strategies designed to ensure clarity, fairness, and constructive feedback, including:
1. Clearly designed assignments,
2. Decisive rubrics,
3. Personalized feedback,
4. Practical projects,
5. Encouragement of daily practice.
By integrating these methods, I ensure that students can both understand and take ownership of their developing abilities. I want them to not only improve, but to know exactly “how” to improve, which prepares for continuous growth in their artistic careers. The state of the art is always evolving, and it’s my responsibility to frequently update practices based on student feedback, evolving industry standards, and my own personal growth in life. Ultimately, I strive to create student-centered learning experiences that are fun, engaging, and relevant. My role as an educator is to ensure that all my students can graduate feeling prepared to navigate the entertainment industry, confident in their approach to performance, and with a greater capacity for empathy – both for themselves and the world around them.
With appreciation,
Brett John Olson, MFA, MA
Actor, Actors Equity Association
Director, Stage Directors and Choreographers Society
Educator, Stephens College Conservatory for the Performing Arts
BrettJohnOlson.com
I believe the best way to teach theatre is by letting students get up and practice what they learn. From day one, I mix theory with hands-on activities, combining readings with practical application. Team-based learning and group exercises help students understand and apply theoretical concepts to their projects. This approach helps them quickly master various techniques and build confidence in tackling the challenges of performance and the profession. A successful teaching day, to me, is when a student thinks, feels, or says, “I can do this.” I aim to create an ensemble-based classroom where students celebrate and learn from each other’s discoveries, which not only enhances their learning but also prepares them for the real world. By focusing on these practical, project-based methods, I hope to develop students into confident, capable, and innovative theatre practitioners.
One of the biggest challenges faced by theatre students is balancing the art of theatre with the business side. To help them overcome this, I believe in offering a “tool kit” of techniques they can use in their work. While my approach to peformance is rooted in the Stanislavskian system, I also emphasize exploring Meisner, Adler, Hagen, Chekhov, Laban, Linklater, and the First Folio Technique. My goal is to help them develop their own individual performance practice. Equally important is understanding the business side, so graduating seniors feel confident following industry standards. In the classroom, this means regularly assigning self-tapes, maintaining up-to-date casting profiles on standard websites, and conducting research projects on major market opportunities. Outside the classroom, I keep an open-door policy for anything “Biz of the Biz” related, offering personalized mentorship and soft-skill problem solving. This approach enhances their versatility as creatives and equips them to navigate and adapt to diverse creative situations confidently.
To assess student learning effectively, I use several strategies designed to ensure clarity, fairness, and constructive feedback, including:
1. Clearly designed assignments,
2. Decisive rubrics,
3. Personalized feedback,
4. Practical projects,
5. Encouragement of daily practice.
By integrating these methods, I ensure that students can both understand and take ownership of their developing abilities. I want them to not only improve, but to know exactly “how” to improve, which prepares for continuous growth in their artistic careers. The state of the art is always evolving, and it’s my responsibility to frequently update practices based on student feedback, evolving industry standards, and my own personal growth in life. Ultimately, I strive to create student-centered learning experiences that are fun, engaging, and relevant. My role as an educator is to ensure that all my students can graduate feeling prepared to navigate the entertainment industry, confident in their approach to performance, and with a greater capacity for empathy – both for themselves and the world around them.
With appreciation,
Brett John Olson, MFA, MA
Actor, Actors Equity Association
Director, Stage Directors and Choreographers Society
Educator, Stephens College Conservatory for the Performing Arts
BrettJohnOlson.com
DEI STATEMENT
Members of the Search Committee,
My Diversity, Equity, and Inclusion (DEI) philosophy centers on continuous growth for myself and my students. Theatre, as an empathetic art form, requires practitioners to work toward a more inclusive and equitable society, honoring our differences and commonalities. This involves honest self-reflection about my journey and future goals. Ultimately, I aim to decolonize curriculums and dismantle patriarchal programming, fostering empathy as an ongoing practice.
My DEI journey began in rural North Dakota, where powwows introduced me to Native American traditions. Visiting 34 National Parks across the U.S. deepened my understanding of Indigenous history and the impact of colonization. Now in New York City, I plan to study at the National Museum of the American Indian. At each stage of my life, I’ve reassessed how, as a professor, I can support a more just society. I strive to inspire my students to stay curious and understand their past, present, and future, much like the dancing circle represents lifelong learning.
Academia and theatre have historically centered dominant voices, sidelining diverse perspectives. As an educator, I embrace change and acknowledge my responsibility within it, often stepping back to make space for others. At Stephens College, I’ve been revamping online analysis courses since 2022, diversifying content in dramatic literature and focusing on global theatre history. In performance courses, I use students’ lived experiences to create relevant and engaging assignments. During my time at the University of North Dakota from 2018-2020, I participated in workshops on using theatre for advocacy, pronouns and gender, and leadership for change. My study with Intimacy Directors International focuses on creating consent-based environments.
Arts access has always been important to me. In 2019, I led a tour of low-income rural North Dakota schools, providing free workshops and performances. As Associate Artistic Director for North Dakota Shakespeare, I received a 2018 grant to offer free professional theatre for low-access patrons. My participation in Western Illinois University’s annual Dealing with Differences Institute deepened my understanding of the relationship between violence, police, and BIPOC people. As a director, I am committed to conscious casting practices and recruiting cultural consultants as needed.
DEI is an ongoing process, and I am dedicated to personal growth. Some of my current practices include using proper pronouns, land acknowledgments, and supporting the LGBTQ+, BIPOC, and Neurodivergent communities. My future goals include completing certification with Intimacy Directors International to provide students with the most current consent-based practices and implementing Boal’s Theatre of the Oppressed in the classroom and on stage. Most importantly, I am committed to continue having challenging conversations that promote growth for myself, the theatre community, and in academia.
With appreciation,
Brett John Olson, MFA, MA
Actor, Actors Equity Association
Director, Stage Directors and Choreographers Society
Educator, Stephens College Conservatory for the Performing Arts
BrettJohnOlson.com
My Diversity, Equity, and Inclusion (DEI) philosophy centers on continuous growth for myself and my students. Theatre, as an empathetic art form, requires practitioners to work toward a more inclusive and equitable society, honoring our differences and commonalities. This involves honest self-reflection about my journey and future goals. Ultimately, I aim to decolonize curriculums and dismantle patriarchal programming, fostering empathy as an ongoing practice.
My DEI journey began in rural North Dakota, where powwows introduced me to Native American traditions. Visiting 34 National Parks across the U.S. deepened my understanding of Indigenous history and the impact of colonization. Now in New York City, I plan to study at the National Museum of the American Indian. At each stage of my life, I’ve reassessed how, as a professor, I can support a more just society. I strive to inspire my students to stay curious and understand their past, present, and future, much like the dancing circle represents lifelong learning.
Academia and theatre have historically centered dominant voices, sidelining diverse perspectives. As an educator, I embrace change and acknowledge my responsibility within it, often stepping back to make space for others. At Stephens College, I’ve been revamping online analysis courses since 2022, diversifying content in dramatic literature and focusing on global theatre history. In performance courses, I use students’ lived experiences to create relevant and engaging assignments. During my time at the University of North Dakota from 2018-2020, I participated in workshops on using theatre for advocacy, pronouns and gender, and leadership for change. My study with Intimacy Directors International focuses on creating consent-based environments.
Arts access has always been important to me. In 2019, I led a tour of low-income rural North Dakota schools, providing free workshops and performances. As Associate Artistic Director for North Dakota Shakespeare, I received a 2018 grant to offer free professional theatre for low-access patrons. My participation in Western Illinois University’s annual Dealing with Differences Institute deepened my understanding of the relationship between violence, police, and BIPOC people. As a director, I am committed to conscious casting practices and recruiting cultural consultants as needed.
DEI is an ongoing process, and I am dedicated to personal growth. Some of my current practices include using proper pronouns, land acknowledgments, and supporting the LGBTQ+, BIPOC, and Neurodivergent communities. My future goals include completing certification with Intimacy Directors International to provide students with the most current consent-based practices and implementing Boal’s Theatre of the Oppressed in the classroom and on stage. Most importantly, I am committed to continue having challenging conversations that promote growth for myself, the theatre community, and in academia.
With appreciation,
Brett John Olson, MFA, MA
Actor, Actors Equity Association
Director, Stage Directors and Choreographers Society
Educator, Stephens College Conservatory for the Performing Arts
BrettJohnOlson.com
Educator resume
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2023-present
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Adjunct Professor of Theatre (Online)
Conservatory for the Performing Arts Stephens College |
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2020-2023
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Assistant Professor of Acting
Conservatory for the Performing Arts Stephens College |
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2018-2020
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Instructor of Performance
Department of Theatre Arts College of Arts & Sciences University of North Dakota |
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2017-2018
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Instructor of Performance, Graduate Faculty
Department of Theatre & Dance College of Fine Arts & Communication Western Illinois University |
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2014-2017
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Teaching Assistant, Instructor of Record
Department of Theatre & Dance College of Fine Arts & Communication Western Illinois University |
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2012-2014
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Teaching Assistant, Instructor of Record
Department of Theatre Arts College of Arts & Sciences University of North Dakota |
Acting I |
Acting II |
Acting III |
Acting: Shakespeare |
Acting: Period Styles |
Acting: Auditions |
Voice & Movement I |
Voice & Movement II |
Movement I |
Voice Techniques I |
Voice Techniques II |
Dialects |
Stage Combat |
Biz of the Biz |
MT Studio |
Directing I |
Directing II |
Directing III |
Devising |
Play Analysis |
Introduction to Theatre |
Dramatic Literature |
Shakespeare Literature |
Pulitzer Literature |
World Theatre History I |
World Theatre History I |
Pulitzer Literature |
Downloadable C.V.
| Brett J. Olson CV |