街頭藝人與街頭觀眾之關聯性-以北台灣表演類街頭藝人為例

「停、看、聽」這是行人或是車輛行進時的安全守則，但它卻是街頭藝人掌握觀眾駐足欣賞他們表演，並且在觀賞中或觀賞節目後願意掏出打賞金給予鼓勵的表演原則。近十年來，街頭藝人表演在台灣各角落、街頭、公園漸漸愈來愈多，而街頭藝人的表演場地針對不同表演性質和類型，街頭藝人應如何選擇對自己表演項目最合適的?在這些表演場地欣賞表演的觀眾們，他們對於街頭藝人表演的喜好項目、表演種類、互動模式與舞台表演之間有何差異?對街頭藝人而言，街頭藝人了解這些觀眾想法有多少?如何使移動中的「人流」因為街頭藝人的演出而「停」留腳步，觀「看」和聆「聽」街頭藝人現場的表演，進而成為「人潮」?商業上常常說:「人潮就是錢潮」，而觀眾的打賞就是對街頭藝人肯定的最直接方式之一。相信每一位熟練的街頭藝人，都經過無數次的練習和演出，才能獲得觀眾的青睞。時間使人成熟，經驗教人智慧。而本研究透過訪問獲得街頭藝人的經驗，並分享街頭藝人實際的挑戰與如何突破瓶頸?藉由觀眾問卷數據分析表演類街頭藝人與街頭觀眾之間的各種關聯性，將觀眾對街頭藝人的期待與互動方式，透過數據交叉比對，推論觀眾對街頭藝人的看法。其次，對於觀眾打賞的動機，從社會的經濟特性、背景文化、觀眾的認知價值、環境因素、生活需求層次以及認知理論的方向進行研究討論，藉此分享更多街頭藝人與觀眾，對街頭演出有更多不同層面的認識。

關鍵字

街頭藝人；街頭表演；打賞

並列摘要

‘Stop, Look and Listen’ is all about the safety procedure for pedestrians or vehicles when crossing the streets. It’s also the busking tips for street performers (buskers) to attract more tourists to stop and listen to their performances, therefore collect donations and tips from the public during (or after) the live performances. In recently years, busking has been gaining popularity on the street corners and parks in Taiwan. Depending on how and what they perform, how should street performers choose their best busking location wisely? What are the audience’s point of views on the differences between street performances from the stage performances, in terms of the street performing arts, forms and interactions? How well do street performers really know about their audiences? How to attract more “moving” tourists to ‘Stop’ their steps, take a ‘Look’ and ‘Listen’ to the live performances, and further generate “a flow of people” to the tourists’ attractions? As a business quote, “Crowd means money flows.” The rewards from audience is apparently one of the direct ways to affirm and inspire street performers. Before gaining attentions from the audiences, I believe that every skilled street performer has gone through countless practices and performances. We learn and grow from experiences. This study collects the vital information on street performers’ experiences and challenges, and further investigates how they manage to get through the performance bottleneck. It also examines the variety of correlations between street performers and their audiences through deeply data analysis of questionnaires, inferring audience's perception of street performers by comparing of data sets. Furthermore, in light of the socio-economic, context cultures, audiences’ cognitive values, environment, life demands and cognitive theory considerations, I also try to interpret audiences’ motivations behind donating to street performers (buskers) in this study. In this way, the study results are expected to share more knowledge on street performers and audiences, and to have more understanding of street performances on different levels.