Lecturer in Creative Industries, University of Melbourne

Dr Caitlin Vincent is a Lecturer in Creative Industries at The University of Melbourne, where she researches the future of work in the arts. Her areas of interest include opera, performance and technology, cultural labour and employment, and gender and diversity. Dr. Vincent has co-authored several high-impact industry reports, including “The status of women in the Canadian arts and cultural industries: Research review 2010-2018” for the Ontario Arts Council, and has published across digital performance, theatrical scenography, gender studies, cultural labour, and public diplomacy. A classically-trained soprano and acclaimed opera librettist, Dr. Vincent has been commissioned by the Kennedy Center (Washington, D.C.), the Schubert Club of Minnesota (Minneapolis), the University of Connecticut (Storrs), and Carnegie Hall (New York), amongst others. From 2009 to 2014, she was the Artistic Director of The Figaro Project (Baltimore, USA), a non-profit, grassroots opera company dedicated to presenting opera in accessible and affordable ways. Dr. Vincent holds degrees from Harvard University, Johns Hopkins University, and Deakin University, and is an affiliate researcher of RMIT University’s Centre for People, Organisation and Work (CPOW). Her monograph, Digital scenography in opera in the twenty-first century, is forthcoming from Routledge in 2021/22.

Experience

  • 2019–present
    Lecturer in Creative Industries, University of Melbourne

Education

  • 2019 
    Deakin University, Doctor of Philosophy
  • 2009 
    Peabody Conservatory of The Johns Hopkins University, Master of Music
  • 2007 
    Harvard College, Bachelor of Arts

Publications

  • 2018
    Notation by Context: Digital Scenography as Artefact of Authorial Intent, Leonardo Music Journal
  • 2017
    The Intersection of Live and Digital: New Technical Classifications for Digital Scenography in Opera, Theatre and Performance Design
  • 2016
    Artwork spawning artwork: trans-disciplinary approaches to artistic spin-offs and evolution in the digital context (CHAPTER), Digital Echoes: Spaces for Intangible and Performance-Based Cultural Heritage
  • 2016
    Navigating control and illusion: functional interactivity versus 'faux-interactivity' in transmedia dance performance, International Journal of Performance Arts and Digital Media