One of the key themes of this research document examines the changes in architecture and the urban environment in relation to an event-oriented society. The urban entertainment culture of the 21st century has spawned a host of event worlds. The marketing of cities and regions with spectacular presentations of history and culture and the redevelopment of city centers to create event spaces are an eloquent expression of this development. In ever fewer cases is this process of urban re-organisation the product of town planning schemes devised by the public authorities. The commercializations of cities is being accompanied by a loss of public space, increasing controls and a growing exclusion of the poor and destitute. The commercializations of culture is celebrating its triumphal march in the concept of the “event city”. / Dissertation (MArch(Prof))--University of Pretoria, 2008. / Architecture / unrestricted

In recent years, region governments actively impelled the buskers to be engaged in the street performance. They handle the examination and certification of buskers and open public space to become the legal venues of street performance, so that the arts enter into daily life of the city to result in new cityscape. The festival has been regarded as one of the most rapidly growing form of tourism. Using the street performance festival to develop the culture tourism industry, it is profitable for marketing cities and gaining economic benefits. This study is to use TOWS matrix, in-depth interviews with experts and famous foreign cases as the foundation of the operation strategies of Kaohsiung city International Street Performance Festival; then use Delphi method to evaluate strategies by industrial, governmental and academic experts. Finally, the researcher concludes strategies regarding to five aspects, which are ¡§Environmental Resources¡¨, ¡§Organization and Manpower¡¨, ¡§Activities Planning¡¨,¡¨ Marketing Publicity¡¨ and ¡§Financial Planning¡¨.

Voir, écouter, sentir et constituer un corpus sensible qui rend compte de la diversité et de la multiplicité des formes et des propositions regroupés sous l'appellation des Arts de la rue.Cette étude s'appuie sur de nombreux entretiens avec des artistes et des professionnels du secteur. C'est un voyage au cœur des Arts de la rue qui assied le lecteur à la table où l'on pense et écrit les projets, l'emmène assister aux répétitions, aux repérages ainsi qu'aux premières représentations publiques et lui laisse ainsi voir la réalité de la création.Cette réflexion sur les Arts de la rue prend pour prisme : l'espace public, le spectateur et le processus de création. Après avoir esquissé un historique, les situations géographiques, politiques et esthétiques des espaces de représentation sont examinées et interrogées, tout comme la place et la fonction du spectateur constamment sollicité : mis en mouvement, surpris dans son quotidien, interpellé, questionné, appelé à échanger, à participer, à accompagner l'acte artistique dès son commencement. Enfin le compte rendu du processus de création constitue la dernière partie. À chaque spectacle ou chaque intervention, les artistes mettent en question leur savoir-faire pour tenter de renouveler leur positionnement dans l'espace public et face aux spectateurs. Ils jouent avec les repères. Le processus de création se révèle être un espace/temps idéal pour observer les Arts de la rue dans leur mouvement perpétuel. / See, listen to, feel and constitute a sensitive corpus which reports the diversity and the multiplicity of the forms and the offers grouped under the naming of Street arts.This study leans on conversations with artists and professionals of the sector. This trip on the land of street arts sit the reader on the table where we think and writes the projects, takes him to see the repetitions, the public first performances, the reality of the creation.This thinking on Street arts takes for prism: the public place, the spectator and the process of creation. Having sketched a history, the geographical, political and esthetic situations of the spaces of representation are examined and questioned, just like the place and the function of the constantly requested spectator: put in movement, surprised in its everyday life, questioned, called to exchange, to participate, to accompany the artistic act from its beginning. Finally the report of the process of creation is the last part. In every show or every intervention, the artists question their know-how to try to renew their positioning in the public space and in front of spectators. They play with marks. The process of creation turns out to be an ideal space / time to observe Street performing arts in their perpetual motion.