本研究目的在瞭解街頭藝術表演的可能内容與形式，及其對商圈空間文化可能帶來的影響。為此’研究者採用内容分析法和訪談法，以臺北市街頭藝人Street Party Crew為研究參與者，參考A. Giddens和J. Derrida的觀點為分析理論，探究其街頭表演的内容元素、核心橋段、串連策略及其套裝表演的整體樣貌，進而分析街頭表演對商圈空間與人際互動模式可能帶來的影響。研究發現，SPC的街頭表演包含背景音樂、肢體動作、觀眾參與及其他臨場狀況四大部分。為同時強化觀眾對表演的熟悉感和好奇感，SPC在大量擷取大眾文化中的音樂、舞蹈和戲劇元素的同時，還得發揮創意，透過挪用、跨界、延異、拼貼等去中心化的音樂剪接與肢體動作嘗試，持續製造出新鮮感和驚奇感，方能吸引觀眾駐足觀賞。如此，表演者和觀眾方能共同投入充滿體驗與想像的表演時光，形塑具民主化、美學化和地方感的商圈文化。

The aim of this study was to investigate the content and form of street performance of buskers as well as their cultural impact on business districts in Taipei. The research methods employed include the content analysis of 46 YouTube videos as well as unstructured interviews with three members of “Street Party Crew”. Three conclusions can be drawn from this research: (1) There were four parts in performances of SPC, included background music (including popular music, movies, TV，cartoons etc.)’ body movements (including street dance and drama), and audience participation and vibration conditions in performance space. (2)To strengthen senses of familiarity, curiosity and surprise for the audience at the same time, SPC must edit their music, dance and drama of performance with strategies of misappropriation, cross-border, differance and collage. (3) When the buskers and audience can join the street performance together with subjective experiences, friendly interaction and high imagination, they will add democratic and aesthetic value to the business districts, and create a sense of place for themselves.