崑劇《牡丹亭．學堂》若與〈游園驚夢〉連演時，在〈學堂〉結束後，須先讓丑扮的花郎上場，作一交代，接著杜麗娘和春香才先後登場，這個起銜作用的段落稱作「花郎吊場」，而它的舞臺實際效畢在於方便改裝，此時的「吊場」已與原來「吊場」的意義產生異化；而自來各家對「吊場」的闡述自有一套說法，並無法涵蓋「吊場」的全貌，因此本文擬由用法角度，分別就早期用法、傳奇興盛期用法變化及崑劇折子戲裡的新形式三個歷史階段來回顧「吊場」的演變歷程，認識「吊場」各個時期不同的形式、特性、安排與價值，探索其改變的動因，並經由舉例說明，期望透過本文的分析，對「吊場」一詞有一完整的理解。

When “Chun-Xiang Disrupting Classroom” (Chun-Xiang Nao Xue or Xue Tang) in Peony pavilion (Mudan Ting) is performed in a row with “Strolling the Garden and Awaking for Dream” (Iu-Uan Jing-Meng), a flower vendor (hua-lang) acted byt he role of a crown should be on stage first and gives an account for the following episode after “Chun-Xiang Disrupting Classroom” finishes. Then Du Li-Niang and Chun-Xiang can appear on the stage one after another. This scene functioned as a connection is called “hua-lnag diao-chang” and its is used for a practical stage effect for changing costumes. Here, the meaning of “diao-chang’ has been different from the original one. There are various versions of interpretations about “diao-chang” from many scholars, but however, no one can embrace the whole ideas of it. Therefore, in the viewpoints of usage and according to three historical periods: the primary stage, the flourishing era of Ming legend drama and the new forms of fragmented highlight, this thesis tries to review the development of “diao-chang’, to acquaint readers with the forms, characters, arrangements and values of “diao-chang” in earth duration and to research for the reasons of transformation. By giving some examples, this thesis expects to get full understanding of “diao-chang”.