Platform is a refereed electronic journal devoted to postgraduates, postdoctoral researchers, and entry-level academics in the fields of theatre and performing arts. Platform, as the name suggests, works to provide a space for postgraduate researchers and entry-level academics to have their work circulated through online publication. It’s run by postgraduates for postgraduates and operates a peer and academic review system, which ensures that contributors not only have the opportunity to publicise their research, but also receive valuable feedback.
Platform is published twice a year, with each edition covering a broad range of topics, making it possible for diverse research interests to be covered in each volume.
Editorial Advisory Board
We are pleased to announce that Platform’s new Spring Issue Vol. 10, No. 1: Are We On The Same Page? (Spring 2016) is now released.
We're currently working on the next issue of 2016!
Platform: Journal of Theatre and Performing Arts 11.1: AuthenticityCALL FOR PAPERS
This forthcoming issue of Platform explores the ways in which theatre and performance practices can reflect on, challenge, exploit, and try to enact ideas of authenticity and being authentic. While authenticity may once have been perceived as referring, in a relatively straightforward way, to the undisputed origin and unbroken pedigree of an artefact or entity, the advent of mechanical and digital reproduction has made far more debatable what it means to be authentic. In the broader sense of addressing faithful or accurate representation, authenticity opens up still more complex questions about the status of ‘authentic reality’ and the nature of theatrical representation.
In recent years, authenticity has become a hotly contested issue, inviting discussion about what it means to be true to oneself and whether something like an essential self exists. The unsuccessful U.S. presidential candidate Hillary Clinton, for example, was widely perceived to be suffering from a debilitating ‘authenticity problem’. How does authenticity relate to development, growth and external pressure, and to what extent is it something that we demand of others and have to perform to navigate our everyday lives? While authenticity might have been an easy target for poststructuralist criticism, it seems that our current preoccupation with it may point to a post-postmodern hunger for, rather than a postmodern need to dissect, authenticity.
In theatre and performance studies, questions of authenticity have frequently been addressed in the context of non-fiction verbatim or documentary theatre. Beyond these, Andy Lavender’s recently published Performance in the Twenty-First Century posits that authenticity has become one of the defining terms for performance practices after postmodernism. Janelle Reinelt and Shirin Rai’s 2015 edited volume The Grammar of Politics and Performance engages with the political salience of authenticity. In addition, the concept of authenticity has featured heavily in a number of recent conferences, such as the 2016 TaPRA Conference in Bristol and the Postgraduate Summer School on Politicising Performance/Performing Politics at the University of Warwick.
We hope that this edition of Platform can expand upon and contribute to current debates around the concept of authenticity in all its forms, whether as an idea of historical lineage, a matter of accurate representation or in terms of the perception of the self in a mediatized world. We invite postgraduate and early career researchers with an interest in the theme of authenticity to submit articles or performance documents, which may take as a point of departure any of the following themes:
- Authenticity and embodied experience
- Theatricality and authenticity
- Performing authenticity
- Theatre and authentic origins
- Theatre and historical faithfulness
- Sincerity, authenticity and lying
- Essentialism vs. anti-foundationalism
- Verbatim theatre
- Documentary theatre
- The politics of authenticity
- Performing an authentic self
- Authentic bodies
- Authenticity as media effect
- Authentic spectatorship
- Affect and/as the authentic
Along with academic articles, we are happy to consider new writing, performance writing, photographic essays, performance responses, and other creative works that speak to our themes. We would like to encourage submissions not only from scholars of theatre, performance and dance, but also from those working in literature, politics, philosophy, music, media arts, film studies, cultural studies, geography, and other related disciplines. In addition, we are happy to consider interdisciplinary articles and provocations.
The deadline for submissions is: 30 January 2017
Submissions should be 4000 words in length, and accompanied by a 200-word abstract. Please submit papers to firstname.lastname@example.org.
Submissions should be original, unpublished work. If required, all images should be appropriately captioned and attributed. We ask that all potential contributors familiarise themselves with our submission guidelines.
In addition to article submissions, we also invite book reviews. If you are interested in reviewing one of the books we have available for review, please email us to express your interest. You are also welcome to email us if you wish to review a book that is not listed here.The books we currently have available for review are:
- Radosavljevic, Duska, editor. Theatre Criticism: Changing Landscapes. Bloomsbury, 2016.
- Garde, Ulrike and Meg Mumford. Theatre of Real People: Diverse Encounters at Berlin’s Hebbel am Ufer and Beyond. Bloomsbury Methuen Drama, 2016.
- Gordon, Robert, Olaf Jubin and Millie Taylor. British Musical Theatre Since 1950. Bloomsbury Methuen Drama, 2016.
- Morra, Irene. Verse Drama in England, 1900-2015: Art, Modernity and the National Stage. Bloomsbury Methuen Drama, 2016.
- Harvey, Jackie and Tim Kelleher. Stage Managing Chaos: A Diary of the Old Vic Production of Fernando Arrabal’s The Architect and the Emperor of Assyria. McFarland, 2016.
- Corrieri, Augusto. In Place of a Show: What Happens Inside Theatres When Nothing is Happening. Bloomsbury Methuen Drama, 2016.
- Mayer, John. Steppenwolf Theatre Company of Chicago: In Their Own Words. Bloomsbury Methuen Drama, 2016.
- Romanska, Magda and Alan Ackerman, editors. Reader in Comedy: An Anthology of Theory and Criticism. Bloomsbury Methuen Drama, 2016.
With kind regards,
Raz Weiner and Julia Peetz, editors