「科諢」是戲曲中所穿插滑稽逗趣的片段，亦是關乎舞臺搬演效果的重要調劑成分。關漢卿雜劇自來被視為重視舞臺實踐的「劇人之作」，在學界對關劇舞臺藝術的諸多討論之中，「科諢」是較少論及，但實具有探討價值的課題。本文即以關漢卿雜劇之科諢運用為論題，嘗試為關漢卿雜劇藝術提供另一觀照評析的角度。本文分從三方面進行討論。首先就任演腳色與扮飾人物而論，關劇科諢以淨腳為主要演出腳色，其次為末腳，主唱全劇的正末、正旦則無科諢表演，顯現關劇科諢表演與腳色技藝分工的關聯。淨腳所扮飾的科諢人物分為「反面人物」與「邊配人物」兩類，各有不同的科諢表演型態。末腳所扮飾的科諢人物皆非反面人物，但並無特定類型。唯《蝴蝶夢》與《陳母教子》二劇皆以末腳做為科諢演出之主幹，是元雜劇中特有的例子。其次，就表現手法而論，關劇科諢所運用的喜趣技巧以「誇張」為基礎，再配合「顛倒」、「重複」、「突轉」等手法。其表演形式雖不外元雜劇曲、白、科的基本工夫，不過在上場詩與插曲的運用上，仍有其特點。最後就關劇科諢的作用而論，除了以滑稽逗趣的演出娛樂觀眾的基本功能之外，並具備調節戲劇場面、刻畫人物形象、強化疏離效果、反映社會現實等作用，能夠更積極的為舞臺效果增色，亦在嘻笑之中寄託了時代的心聲。

Buffoonery is funny actions and language used throughout the Chinese drama. As regards theater effect, it is also an inseparable part of Chinese drama. Guan Han-qing is the most important writer of Yuan Zaju. The buffoonery is a part that can't be ignored in his works. This essay analyzes the buffoonery in Guan Han-qing's Zaju from three aspects. The first part is focusing on the playing role and the character types of the buffoonery. This part points out that the buffoonery in Guan Han-qing's Zaju is played by "mo" and "jing", the "jing" is especially important. The characters performed by "jing" could divide "villains" and "bit parts" two types, as for performed by "mo" doesn't have particular type. The second part is analyzing the performance techniques of the buffoonery; including comic techniques such as exaggeration, reversal, repetition, and sudden change as well performed manner comprised song, dialogue, and act. The last part is discussing the functions of the buffoonery. To provide amusement for audiences is the basic function of the buffoonery in Guan Han-qing's Zaju. Furthermore, the buffoonery also can adjust the drama scenes, portray the image of character, intensify the alienation effect of drama, and reflect social reality.