Caitlin Marshall

Job title: 
Postdoctoral Fellow
Cluster: 
Theatre Scholarship and Performance Studies
Academic Rank: 
Visiting Assistant Professor

Caitlin Marshall, Ph.D is an American theater historian specializing in 19th century drama and popular genres like blackface minstrelsy, sideshow, scientific lectures, and musical performance. Her manuscript in progress, "Staging America: race, disability, and vocal performance in the antebellum United States," takes up the metaphor of voice in American democracy, and analyzes how essentialized performances of sonic whiteness, blackness, and redness recorded, reproduced, and contested a soundtrack of citizenship. Her writing is published in Postmodern Culture and SoundingOut! Caitlin currently teaches undergraduate courses on " 'Indian' Plays and Native American drama," and "Theater History." This spring she'll launch a new graduate course on the history of spectacle from 1492 - today: "Extraordinary Bodies on Display: Theater, Freak shows, & Ethnological Show Biz.” 

Education/Training:

  • Ph.D., Performance Studies, University of California Berkeley, 2016
  • B.A Brown University, 2005

Areas of Specialization/Interest:

  • American Theater & Performance (17th - 21st C), with concentrations in African American Drama & Performance, and Native American Drama & Performance
  • Disability Theater & Performance
  • Musical Theater History 
  • Sound Studies
  • Critical theories of race, racial impersonation, mixed-race and comparative race studies, critical disability theory, freak studies, crip theory, and theories of coloniality and decoloniality

Professional Affiliations:

  • American Society for Theatre Research (ASTR)
  • Association for Theatre in Higher Education (ATHE)
  • Society for Disability Studies
  • American Studies Association
  • C- 19: The Society of Nineteenth-Century Americanists

Representative Publications: 

  • 2016, “A Voice Like Thunder: Choctaw Chief Push-ma-ta-ha, Native oratory, and sonic redface in Metamora: or, the Last of the Wampanoags.” (in progress)  
  • 2016, “A Different Voice, A Different Song.” Book review. Spec. issue Twentieth Century Music. 13 no. 1 (March): n.p. doi: 10.1017/S1478572215000274 
  • 2015, “Crippled Speech.” Voice Matters. Spec. issue Postmodern Culture. 24 no. 3 (May 2014): n.p. doi: 10.1353/pmc.2014.0020  
  • 2014, “The Acoustics of Passing: Harriet Beecher Stowe’s Uncle Tom’s Cabin as Supremacist Remix.” Sounding Out! The Sound Studies Blog. 23 December 2013. n.p.

Fellowships & Awards:

  • 2014, UC Humanities Network Multi-Campus Research Group: “Keys to Voice Studies”   
  • 2014, UC Berkeley Center for the Study of Sexual Culture & Center for Race and Gender Dissertation Retreat
  • 2012, Helen Krich Chinoy Dissertation Research Fellowship, ASTR
  • 2012, University of California Humanities Research Institute Summer Residency: “Arts Inclusion: Disability, Design, Curation”
  • 2011, University of California Humanities Research Institute Residential Fellow: “Vocal Matters: Technologies of Self and the Materiality of Voice.”
  • 2011, UC Berkeley Dean’s Normative time Fellowship
  • 2011, Berkeley Center for Race and Gender Graduate Research Grant 
  • 2010, Berkeley Center for New Media Interdisciplinary Graduate Student Research Grant
  • 2010, Foreign Language and Area Studies Scholarship (FLAS)
  • 2008, UC Berkeley Predoctoral Humanities Fellowship

Theater Direction:

  • 2016, The Quick and the Dead adapted by Joshua Williams (Staged Reading), Durham Theater, Berkeley, CA
  • 2014, Every Angel is Brutal by Julia Jarcho (Staged Reading), Durham Theater, Berkeley, CA          
  • 2013, Untitled Teen Hospice Play by Krista Knight (Staged Reading), Durham Theater, Berkeley, CA
  • 2013, Kid Simple: A Radio Play in the Flesh, by Jordan Harrison, Durham Theater, Berkeley, CA
  • 2008, VoicedBox, by Caitlin Marshall and Sam Krahn (musical & stage direction), Zellerbach Hall, Berkeley, CA