美国电影大师格里菲斯曾经凭借“交叉剪接”的方法,创造了极富悬念的“格里菲斯最后一刻的营救”,轰动了世界影坛。其实,在我们浩瀚如海的戏曲剧目中,运用“千钧一发的营救”手法的,比比皆是。譬如,秦腔《火焰驹》、湘剧《生死牌》、柳子戏《孙安动本》、评剧《半把剪刀》、河南曲剧《陈三两》等,总是在主人公或其他重要人物命在旦夕、甚至已经绑赴刑场、“午时三刻”已到,即将问斩的时候,随着一声“刀下留人”,有人突然前来相救,把全剧推上了高潮,把高潮推上了顶点;而且常常有个善有善报、恶有恶报,惩恶扬善的团圆结局,使观众内心得到某 American film master Griffith once by virtue of “cross-cut” approach, creating a very suspenseful “Griffith last-minute rescue,” a sensation in the world film. In fact, in the drama repertoire of vast seas and oceans, we are able to use the technique of “rescuing one’s name and all means” and abound. For example, the “Fire Foal” of Shaanxi Opera, the “Life and death card” of the Xiang opera, the moving book of “Sun An” in the Liuzi opera, the “half scissors” of the Pingju opera, and the “Chen San 2” of the Henan opera are always at the mercy of the protagonist or other important figures , And even have been tied to the execution ground, “three o’clock noon” has arrived, about to cut, with a “knife to keep people,” someone came to rescue, the whole show was pushed to the climax to push the climax The vertices; and often there is a good retribution, evil retribution, punishing evil and good reunion, so that the audience get a