她曾是《红色娘子军》里的第三代吴琼花，是《天鹅湖》里的白天鹅与黑天鹅，也是《堂·吉诃德》里的女主角吉特丽。二十三岁那年，她便登上了法国巴黎歌剧院的舞台，惊艳四座，赢得了满堂赞誉。她就是中央芭蕾舞团团长、中央芭蕾舞团艺术总监冯英。1963年，冯英出生在哈尔滨的一个普通家庭。凭借聪慧的天资和对舞蹈与生俱来的热爱，年仅十岁的她被选入了中央五七艺术大学舞蹈学校（北京舞蹈学院前身），就此走进了芭蕾艺术的殿堂。图：芭蕾表演艺术家冯英在毕业汇演芭蕾舞剧《天鹅湖》中，冯英担任白天鹅与黑天鹅两个角色。于黑天鹅一角而言，32圈挥鞭转是极为重要的舞蹈动作之一。挥鞭转是指芭蕾舞演员单足足尖立地保持稳定，另一条腿抬起，在空中急速划圈来促成身体旋转。该动作强调高转速和爆发力，非常考验演员的平衡感和肌肉力量。曾在这个舞蹈动作上受挫的冯英并未畏难而弃，经过刻苦训练，冯英的单次挥鞭转最高能达到78圈。她坦言：“你完成78个的时候，有这个基础保障了，那你在舞台上要转32个是不是就很轻松了。”图：在芭蕾舞剧《天鹅湖》中，冯英饰演白天鹅与黑天鹅二角通过异于常人的坚韧和不懈努力，冯英于1979年顺利毕业，进入中央芭蕾舞团。而后凭借扎实的舞蹈功底和出色的舞台表现力，她很快成长为团里的骨干演员，并在1992年穿上了她心心念念的那件属于吴琼花的红色衣裳，成为了芭蕾舞剧《红色娘子军》中的第三代吴琼花。图：冯英在芭蕾舞剧《红色娘子军》中饰演第三代吴琼花为了充分诠释剧中吴琼花一角，冯英与导演深入探讨，反复揣摩人物心中细腻的情感变化，让琼花这个经典形象在舞台上更加丰盈立体。演出中，她用丰富的肢体语言诠释了琼花对长久压迫的隐忍、在艰难绝望中的挣扎、对革命斗志的觉醒以及追求光明的决心。冯英的舞蹈一如行云流水，起舞时飘逸灵动，停顿时挥洒有力，每一个极富戏剧张力和表现力的旋转、跳跃都蕴含着她对芭蕾舞剧的深刻理解和日复一日练习成就的高超舞艺。在中央芭蕾舞团演出多年、塑造了多个经典形象、留下了诸多精彩舞台之后，冯英于千禧年告别舞台，开启了任教生涯。2009年，她开始担任中央芭蕾舞团团长。身份的转变让冯英肩负起了更大的责任。她意识到，芭蕾舞在中国蓬勃发展数十载，演员表演技艺已然精湛纯熟，但中国本土芭蕾舞剧的编创能力却相对较弱。大众熟知的原创芭蕾舞剧除了上世纪的《红色娘子军》《白毛女》外，讲述新时代中国故事的芭蕾舞剧依然匮乏。为了培养有才能、有天分、有创造力的芭蕾舞编导，冯英提出了“传承古典、创新民族、开拓现当代”的艺术创作理念并创办了“芭蕾创意工坊”。图：冯英成为中央芭蕾舞团团长在冯英的带领下，中央芭蕾舞团持续创新，先后推出了有着中国版《胡桃夹子》之称的《过年》，讲述爱鹤、护鹤动人故事的《鹤魂》，以及致敬敦煌守护者的《敦煌》等一批富有当代中国特色和国际视野的优秀原创剧目。今年2月，由冯英担任总策划、制作人的原创芭蕾舞剧《红楼梦》在北京天桥剧场首演。她带领着中央芭蕾舞团新一代青年舞者，探索东西方艺术融合之道，用芭蕾演绎出这一中国经典文学瑰宝。图：芭蕾舞剧《过年》剧照冯英说：“舞台艺术应当放眼世界，立足中国，以开放的胸怀吸纳人类文明的一切优秀成果，并以敏锐的见解、充溢的才情，将之转化为富有中国作风和中国气派的优秀精神食粮，承担起传达文化自觉和文化自信的重任。”从舞蹈学校的学员到芭蕾舞演员再到中央芭蕾舞团团长、艺术总监，时光荏苒、身份转变，冯英在中国芭蕾民族化的创新历程中开拓进取，带领中央芭蕾舞团走出了一条古典与现代、民族与世界创新融合的发展之路。Feng Ying is one of China's most famous ballerinas and the director and artistic director of the National Ballet of China. She has interpreted many classic characters, including the white swan and black swan in "Swan Lake," Giselle in "Giselle," and Wu Qionghua in "The Red Detachment of Women." In the cultural program "Meet the Masters" produced by China Media Group, Feng Ying tells the story of her journey as a ballerina. Feng Ying was born in Harbin in northeast China's Heilongjiang Province in 1963. Her innate love for dance since childhood resulted in her being selected for the Beijing Dance Academy at the age of 10. However, her career and development as a dancer was not as smooth as she expected.After entering the Beijing Dance Academy, Feng Ying realized that her instep defect would be a huge obstacle to perform ballet. In order to achieve a curved instep and high arch to perfectly express the correct movements, she eventually made the decision to have a surgery to remove some bones in her feet. "Although it seems to others I have suffered a lot, it was all worth it," Feng said.Feng's obsession and dedication to ballet finally paid dividends. After graduation, she joined the National Ballet of China and became one of the top dancers in the troupe. In 1992, she joined the third generation of dancers to play the heroine Wu Qionghua in "The Red Detachment of Women," a character she had always dreamed of portraying. To render the character more delicately, she discussed with the director the ways of redesigning the movements and added her own understanding to the performance.As a prima ballerina, Feng Ying has performed a large number of repertoires staged by the National Ballet of China, putting all her passion and enthusiasm into every character she ever played. After interpreting many wonderful characters, she retired from the stage at the age of 37 due to the accumulated injuries and illness sustained during her years of rigorous training and practice, and became a teacher and choreographer in 2000.Nine years later, Feng Ying returned to her beloved stage with a new identity – the director and artistic director of the National Ballet of China. She gradually gained a new understanding of the art. "Chinese ballets are more expressive, the dancers are better at using body language, and their artistic expression is more delicate, more rhythmic, and more connotative." Feng Ying said, "As ballet entered China in the 1950s, it only has a history of around 70 years; but the Chinese school of ballet is gradually developing."In order to promote original creations, she has held a "Ballet Creative Workshop" every year since 2010, training a group of talented ballet choreographers.Under her leadership, the National Ballet of China has not only polished the classics but also created a number of outstanding modern works, including "Chinese New Year," which is the Chinese version of "The Nutcracker," "The Crane Calling," which tells a story of protecting cranes, and "The Light of Heart," which focuses on protecting the heritage items of Dunhuang in Gansu Province.Feng Ying believes that artists should base their works on China but adopt an international perspective. She said they should absorb the outstanding achievements of human civilization and turn them into cultural and artistic works with Chinese characteristics. Under the leadership of dance artists like Feng Ying, the Chinese school of ballet has developed quickly, with contemporary works starting to tell the stories of modern China and expressing the thoughts and feelings of the Chinese people.推荐阅读：大师列传｜扎根传统 化古出新 书画同源妙笔生——走近当代大写意画家吴悦石的笔墨人生