Flash mobs and other types of Guerilla theater, talking about their origins; their objectives, whether political or entertainment

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Flash mobs and other types of Guerilla theater, talking about their origins; their objectives, whether political or entertainment; and possibly how they are now being used as forms of product marketing i.e. commercials and television programs.

I am a Drama major and this paper is for a Performance Theory class. Paper is on a type of social performance. Here are a few quotes I have already found online:

Movie and television starts, technical effects, equipment, and the desire for simple packaging are all obstacles to a concept of performer-as-creator in theater-as-art. (Davis)


Taken as a whole, social theater stands alongside of, and sometimes in place of, “aesthetic theater” (including art theaters, experimental theaters, university theaters, regional theaters, and commercial theaters). We do not deny either the social aspects of aesthetic theater or the aesthetic aspects of social theater but rather point out the differences of purpose, audiences, venues, and production values. (Thompson/Schechner)


Mr. Wasik said the mobs started as a kind of playful social experiment meant to encourage spontaneity and big gatherings to temporarily take over commercial and public areas simply to show that they could. (Urbina)

5 AMAZING Flash Mob Marketing Examples that Generated Buzz

The main reason guerrilla marketing took off was its incredible effectiveness at breaking through our advertising blinders.


Guerrilla theatre, or Guerrilla Performance, is a style of street theatre popularized in the mid-late 1960s, usually political in nature. Guerrilla (Spanish for “little war”) describes the act of spontaneous, surprise performances in unlikely public spaces to an unsuspecting audience. Typically these performances intend to draw attention to a political/social issue through satire, protest, and carnivalesque techniques.


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