||Within this thesis, I will be exploring the notion of authenticity in performance. I have found that the word ‘authenticity' can take on a litany of meanings and is not necessarily synonymous with ‘actuality.' Throughout this thesis, I am asking: Can something be fabricated construction, yet hold some sort of compelling truth that convinces us of its reality, in some way? I believe there is authenticity, a deep sense of truth, within even the most make-believe of situations. Several creative methods for exploring authenticity are expounded upon, including: ‘stage peacocking,' preliminary regression, imaginative play, creating a persona, physical embodiment, dilation or stage presence, amplification, asymmetry and performance identity. This thesis is in no way a comprehensive list of how to experience authenticity on stage, but is a guide built upon my own, personal experiences in choreography and performance to offer insight and direction for others who are on a similar quest.