This thesis examines the politics of twenty-first century ???guerrilla??? performance. It historicises site-specific, political performance by examining ???guerrilla??? art forms from the 1960s to the present. It argues that recent community-based, site-specific performance events can be seen as a ???new??? type of guerrilla work, as they utilise techniques which challenge public space, authorship and control without resorting to traditional guerrilla forms of didactic street protest. The author establishes two main political tactics of the community-based guerrilla artist. The first is the utilisation of a problematised definition of ???community??? and the second is an understanding of physical, conceptual and experiential ???space??? as open to intervention. Community-based performance and site-specific art practices are investigated and space and community are placed into critical theoretical frameworks using post-structural and spatiality theory. The author then argues that post-structured communities which are based on an ethics of difference can trouble and create site, conceptual space and place (site/concept/place) through contemporary guerrilla performance events. Three examples of community-based guerrilla performance in Australia are examined. The first case study explores Western Sydney based Urban Theatre Projects and their 1997 performance event TrackWork. The second focuses on community-based hip-hop artist Morganics and his facilitation of two hip-hop tracks Down River and The Block in 2001. The third considers US theatre director Peter Sellars??? problematic curation of the 2002 Adelaide Festival of the Arts. In all three case studies, guerrilla artists are shown working with post-structured communities to challenge and trouble site/concept/place in order to improve the lives of their participants and audiences. This thesis proposes new post-structural frameworks for the powerful presence of community and site in performance events, thus contributing to performance and cultural studies and to the emerging field of community-based performance scholarship.

This thesis examines the politics of twenty-first century ???guerrilla??? performance. It historicises site-specific, political performance by examining ???guerrilla??? art forms from the 1960s to the present. It argues that recent community-based, site-specific performance events can be seen as a ???new??? type of guerrilla work, as they utilise techniques which challenge public space, authorship and control without resorting to traditional guerrilla forms of didactic street protest. The author establishes two main political tactics of the community-based guerrilla artist. The first is the utilisation of a problematised definition of ???community??? and the second is an understanding of physical, conceptual and experiential ???space??? as open to intervention. Community-based performance and site-specific art practices are investigated and space and community are placed into critical theoretical frameworks using post-structural and spatiality theory. The author then argues that post-structured communities which are based on an ethics of difference can trouble and create site, conceptual space and place (site/concept/place) through contemporary guerrilla performance events. Three examples of community-based guerrilla performance in Australia are examined. The first case study explores Western Sydney based Urban Theatre Projects and their 1997 performance event TrackWork. The second focuses on community-based hip-hop artist Morganics and his facilitation of two hip-hop tracks Down River and The Block in 2001. The third considers US theatre director Peter Sellars??? problematic curation of the 2002 Adelaide Festival of the Arts. In all three case studies, guerrilla artists are shown working with post-structured communities to challenge and trouble site/concept/place in order to improve the lives of their participants and audiences. This thesis proposes new post-structural frameworks for the powerful presence of community and site in performance events, thus contributing to performance and cultural studies and to the emerging field of community-based performance scholarship.

Thesis (M.S.)--Drexel University, 2001. / Includes bibliographical references (leaf 42).

An examination of inner motivations and outer presentations of selected independent post-modern dance artists, who explored dancing in a wider landscape and cityscape while also creating “alternative” working and living spaces within their community, is glimpsed through the microcosm of an era of independent dance and performance that emerged in Philadelphia’s Old City during the 1970’s and 1980’s. This thesis includes a consideration of philosophical inspirations and movement esthetics built from non-modern dance styles and early dissemination of post-modern techniques, along with the political and social implications of art practices in this environment. Concepts and theory further afield are brought to bear in considering the experimenting sensibility of these dance artists and the roles they played in shaping community and urban life. / Dance

Thesis (M.A.)--Ohio University, June, 2007. / Title from PDF t.p. Includes bibliographical references.

Thesis (M.A.)--York University, 2004. Graduate Programme in Geography. / Typescript. Includes bibliographical references (leaves 148-156). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ99356

Thesis (M.A.)--Ohio University, June, 2007. / Title from PDF t.p. Includes bibliographical references.

Thesis (C.A.D.) -- University of Western Sydney, [ 2002]. / "This research is submitted as partial fulfillment of the requirements for the degree of Doctor of Creative Art, Contemporary Art " Includes bibliography.

Thesis (Ph. D.)--University of Massachusetts Amherst, 2010. / Includes bibliographical references (p. 285-300).

In contemporary life, more and more people move to live in urban city. Urban life is drastically different from rural life. In urban city, works are highly diversified and repetitive; people are fast-paced, efficiency-oriented and packed in very limited space for movement. The mode of living is tailor-made to the development of the city instead to the individuals who are living in it. Unsurprisingly, 100% of Hong Kong population is living in the urban area. Everyday we are trapped in this mismatch setting of time and space. It is the repressed emotion and desire that revealed by the miscommunication and disconnection among crowds of people, fostered and nurtured the unique practice of Hong Kong Artists. / In this essay entitled Fill in the Blanks - Art of the Disconnection in Urban Daily Life, I attempt to rethink and present an overall image of the body of my artistic work, while studying a series of theoretical and artistic references from the field of contemporary art and cultural studies. / This essay is divided in three main sections: the transformation from observation in urban daily life to conceptualization, the struggle between the artistic intention to execution in specific medium and the conveyance of meanings in artwork by the artist to audience comprehension and interpretation. It also includes the reflections on my thesis work We each walked 2000 kilometers to say good-bye. Through this exegesis, I would like to bridge the ‘blanks’ between my artistic practice, academic studies and daily life experience to draw a bigger picture, in the hope that my works could trigger more possibilities of discussion and interpretation. / Fong, Sum Yu. / Thesis (M.F.A.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leave 34). / Chapter 1 --- Introduction --- p.4 / Chapter 1.1 --- The blanks / Chapter 1.2 --- Fill in the blanks / Chapter 1.3 --- In Urban Daily Life / Chapter 1.4 --- Art of Disconnection / Chapter 2 --- Observation to Conceptualization in urban daily life --- p.12 / Chapter 2.1 --- Literature Review: Marvel of a Floating City / Chapter 2.2 --- Literature Review: Man of the Crowd / Chapter 3 --- Intention - Conveyance Interpretation --- p.17 / Chapter 3.1 --- Rational against Emotional / Chapter 3.2 --- Work Example: The Memory Series / Chapter 4 --- The Medium and its application --- p.23 / Chapter 4.1 --- The Documentary Value / Chapter 4.2 --- Personality in Working with Video / Chapter 4.2.1 --- Points of Concern and Ways of Presentation / Chapter 4.2.2 --- Montage / Chapter 5 --- Final Work: Love and Story --- p.31 / Chapter 5.1 --- Previous Related Work: Writing to reach you / Chapter 5.2 --- We Each Walked 2000 kilometers to say good-bye / Chapter 6 --- Conclusion --- p.33