清朝盛行的花部戲曲，在各地形成不同的風貌。為尋找臺灣亂彈戲（北管戲）《打登州》的地方特色，本文先追溯「打登州」的故事源頭，繼而以北管總綱與藝人的口述資料建構演出本，再和京劇、紹興亂彈版本進行比較，最後從史料推測北管中出現三花程咬金「假童」（假扮乩童）情節的原因。 相較臺灣亂彈戲設計「假童」與方言的插科打諢，上海的紹興亂彈用上海話說笑，也加入居民熟悉的事物，但華語文化圈流行最廣的劇種――京劇，卻難找出特屬某地的色彩。 臺灣亂彈戲以程咬金「假童」加重丑角的表演，提升喜劇的層次，與其它兩者以老生秦瓊為主不同。「假童」的出現與日本政府以法令管束乩童，並倡導科學、衛生觀念有關，戲曲內容也表現人們對乩童傳達神意是否真實的猜疑。

The Dramas of Luantan Musical Systems (“Flower Drama＂, huabu ) were very popular in the Qing Dynasty and have formed specific characteristics in different areas. Focusing on the musical drama piece of“Attack on Dengzhou City＂, we look for the source of the dramatic text in some historical novels. However, we cannot find the similar plot between novel and drama; this plot is probably created by the performer. To distinguish the Beiguan theatre from another forms of theatre, we reconstruct a more complete performance text of Beiguan theatre by combining different manuscripts and based on the artists´oral histories. Then, we compare this performance text of Beiguan with those of Peking Opera and Saoxing theatre. Finally, we try to explain why the plot of“Clown Disguised as Psychic＂is presented in Taiwan Beiguan theatre. Both Taiwanese Beiguan theatre and Saoxing theatre of Shanghai uses dialects to buffoon and we can find the local codes in them. However, it´s difficult to find any local color in Peking opera, which is the most popular musical drama in the Chinese culture circle. The plot of“Clown Disguised as Psychic＂emphasizes the Clown´s performance in Beiguan theatre therefore it raises this comedy to a higher level. This plot should have appeared on stage before 1920s when Taiwan was a colony of Japan. At that time, the psychics were controlled by law and the Japanese authorities imported western conceptions of science and hygiene to Taiwan. As a result, more and more people could not be certain if the psychics could truly transmit the divines´suggestions to them or not. This dramatic scene reflected their doubts on psychics in the heart.