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This thesis defines self-adaptation and establishes its markers. Self-adaptation, although a known practice across multiple fields, remains understudied and lacks a definition which clearly highlights its structure and the markers necessary for a work to be considered self-adaptation. This study, based on the definition it establishes, breaks down the practice into it disciplines, star, adaptation, film, performance and music video studies and connects them to a larger theoretical frame. Then, it answers pressing questions that prevail in self-adaptation such as the matter of authority, artistic collaboration, how different media forms fit in the practice and how artists actually perform self-adaptation. The thesis than highlights self-adaptations practice from different time periods by performing an extensive case study on David Byrne which not only shows Byrne's decades long career packed with examples of the practice but how it prolongs careers and artistic visions. It further supporting it with smaller studies that examine Nick Cave, Jim Jarmusch, Neil Young and David Bowie. Finally, the thesis concludes with showing how self-adaptation is currently being practiced by contemporary stars as a means of expanding their artistic horizons and for artistic resilience. Ultimately, the thesis aims to define the practice in a way that makes the definition and its markers applicable for further study. Keywords: Self-adaptation, Multi-media Studies, David Byrne, Star Studies, Performance