Assistant Professor of English
Ph.D., Rutgers University
14 Sanborn House
Soyica Colbert's interests are black drama, literature, performance, culture and politics from the 19th-21st centuries, from William Wells Brown to Beyoncé, and from poetics to performance.
English 67, Black Movements
English 47, American Drama
English 49, Modern Black Literature
African and African American Studies 10, Introduction to African American Studies
Theater 22, Black Theater U.S.A.
• The African American Theatrical Body: Reception, Performance, and the Stage (Cambridge University Press, 2011).
• "'When I Die, I Won't Stay Dead': the Future of the Human in Suzan Lori Parks' The Death of the Last Black Man in the Whole Entire World. boundary 2 , forthcoming.
• "A New Branch of the United States' Miscegenated Family Tree: Lynn Nottage's By the Way, Meet Vera Stark, The Feminist Wire (April 29, 2011), np.
• "'If We Must Die': Violence as History Lesson in Seven Guitars and King Hedley II ," in August Wilson: Completing the Cycle. A. Nadel (ed.), (2010) 97-109.
• "A Pedagogical Approach to Understanding Rioting as Revolutionary Action in Alice Childress's 'Wine in the Wilderness'," Theatre Topics , 19:1 (2009) 77-85.
• "Reparations: Repairing the Damages Suffered During the Middle Passage in August Wilson's 'Joe Turner's Come and Gone'," New England Theatre Journal , 19:1 (2008) 45-60.
• "Dialetical Dialogues: Performing Blackness in the Drama of Alice Childress," in Contemporary African American Women Playwrights: A Casebook . P Kolin (ed.), (2007) 28-46.
• "The Sound of Ghastly Sight: James Baldwin's 'Blues for Mister Charlie', a Neo-Lynching Narrative," in Sonic Interventions , S Mieszkowski, J Smith, and M de Valck (eds.), (2007) 193-210
