Significantly, human life is reflected in literary works that covered the suffering and painful moments. In literature, the spiritual wounds are functioned to illustrate trauma and its effect on self-confidence. Through acting situations, trauma is connected dramatically with flashback and yesteryears images of self-destruction. Particularly, the wounded self is analyzed through social and political perspectives in which that self is examined and healed by the therapeutic understanding that literature provides. Widely, this genre is given a space in theatres to illustrate the stormy life of real and imaginative characters who deeply discuss the traumatic effect and the foreshadow bonds to the experiences of the past. In monodramas, playwrights put into consideration the influence of place and events in the reformulation of the self. Therapeutically, the concept of trauma draws attention to the role of place and the subject matter which are dealt with metaphorically by characters. The variant means of self-treatment regard importantly the monologues to recover the division and the destruction of identity that won a fruitful chance in drama. Thus, Trauma drama examines the relation between the reformation of self and the recollection of memories. Thus, the aim of the paper is to shed the light on literary trauma theory in contemporary, cultural and literary criticism through its adaptation on traumatic performing stage. The paper relies mainly on the contemporary models of trauma presented on stages as monologues. The paper is mainly concerned with Heather Raffo's Nine Parts of Desire (2003) and Doug Wright's I Am My Own Wife (2004) examining the monologue as an expressionist approach to reflect trauma and its extreme destructive change on self and society.