Solo Theater and Performance

deadline for submissions: 
June 30, 2021
full name / name of organization: 
Center for Performance Research and Cultural Studies
contact email: 

 Solo Theater and Performance is visualized as an edited anthology of critical essays encompassing contemporary practices, issues and methods, prominent figures, and historical contexts in the domain of one-person theater and performance. Research scholars and academics interested in the area are welcome to contribute to the proposed volume.

Solo performances existed in various classical theater traditions and were subjected to immense transformations of strategies and techniques. Shamans and Storytellers performed oral histories and ritual narratives, bards brought together narrative, music, entertainment and education, performers entwined dramatic monologues with action and movement; one person acts have become intensely personal narratives and critiques in various facets of history of the form.

In 20th century, a wide variety of socio economic and cultural elements interceded in the regulation and development of solo theater and performance practices as exceptional experimentations in interrogating identity, marginality, politics of difference, institutions and power. These initiated autobiographical, documentary, participatory, educational and therapeutic modalities in performance.

Contemporary Solo theaters and performances have an extensive array of forms, styles, sources, practices, modes of manifestation in one person format which portray documentary, autobiographical, self reflexive and/or self revelatory, adaptative, poetic, auto ethnographic, therapeutic, participatory, radical, political and  so on. One significant factor in solo theater and performance is that it reflected relentlessly the major movements and technologies in art, politics, and society by exploring new sources, modalities of reproduction, intellectual movements and theater space. Solo theater and performance illustrates self-reflexive play of impersonation together with the dynamics of language and narrative and has undergone tremendous transformations in the wake of modernists projects such as ‘Live Art’ and/or ‘Performance Art’,  ‘Happening’ and Conceptual art of the sixties and seventies which manifested ideas in terms of material objects, body and spatial movements. Such radical artistic movements have valorized and privileged the process rather than product, presence rather than text, mobility than fixity, flux and ambiguity than concreteness and facts.

For details, Please visit cpracsis.org/publication