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”.