©Monika Deimling, 2015

Bookperformance (2011) is Çiğdem y Mirol’s worldview that is subject to “écriture” both in practice and in theory. In practice, it is realized as an artistic and literary expression of creative texts, improvised acts, visuals embodying sounds, sounds created through resonance. In theory, it is realized as a socio-cultural expression, by initiating co-creative acts which contribute to the human orientation and textual resonance both of which help understand both the individual and the society. 

Aesthetically, its textual performance on page is telling the story of how a writer turns into an author. Its actual performance on stage is showcasing the transformation of a notebook/manuscript into a book. Both of these are achieved mainly by giving life to Bookperformance with diverse narrative tecniques and direct interference between the author and the reader/audience in order to foster co-creating. Depending on by whom the co-creation is initiated or towards whom it is oriented, it may be called as Author-Reader Performance or Reader-Author Performance

Socio-culturally, the driving force in Bookperformance is the notion of “the absolute self” as the essence of love. This force is underlined with the statement of “we are all one”.  It is practiced  both on the page and on the stage, with the author and the reader, through “sharing the authority”, “transference of love” and “co-creation” with a close attention to multiplicity, diversity and transparency. All this is stated through the 7 universal principles in the Bookperformance Manifesto (2011) which is the outcome of Çiğdem y Mirol’s MA (2011, Bilkent University) dissertation on reception theories and self-referential literary books that she puts forward to be artistic performances.