This paper examines the performer’s self-reflective process in Lisa Kron’s autobiographical therapeutic theatre. Kron’s 101 Humiliating Stories is based on Kron’s subconscious anxiety about revealing her sexual identity as a lesbian performer in high school reunion. In 2.5 Minute Ride, the description of remains of Holocaust leads to the discovery of her father’s lost history and present identity. The metatheatrical play Well is about Kron’s conscious effort to work through her internal trauma related to her mother’s illness. The conflict in each play appears in the derailing of the story’s planned course, resulting in a performer’s completely unanticipated revelation. The unsettled vulnerability from disclosure can be a mirror of performer’s inner state, which reaches for self-awareness and healing. This unique characteristics of Kron’s works corresponds to a method of Renée Emunah’s Self-Revelatory Performance. It is defined as both a form of drama therapy and a genre of experimental theatre, focusing on performer’s current life issues in need of healing. This article thus explores Kron’s journey of self-discovery through the emotionally intense scenes and mastery of a theatrical quality from various dramatic devices.