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Questions about resistive performances.

1) Among the various kinds of resistive performances that Dutta discusses in Chapter 7, which one is most often the most effective? Also, in case of street performances, how does one make sure that the performance really catches people's attention and makes them think, as opposed to making them watch it for a while and then dismissing it?

2) In resistive performances, what matters more -- the number of people one involves in the performances, or the intensity of the act per se? How does one take a resistive performance beyond art for art's sake and elevate it to the level of a transformative act?

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