Feng Ying, head of the National Ballet of China and artistic director, took on the scene with the unique temperament of a ballet dancer. Although she has been off the stage for many years, the ballet dancer's unique standard figure of "three long and one small" with long arms, long legs, long neck and small head makes her still graceful in front of the four young ballet dancers.
Feng Ying's artistic list is different, each column has two interrelated works, let's feel the similarity of this "immortal combination" together...
The Peking opera "Red Lantern" and the ballet "Red Detachment of Women" are Feng Ying's artistic enlightenment
"Red Lantern" is a classic modern Peking Opera work, which has been sung for a long time. The dance drama "Red Detachment of Women" is also a classic play with a sense of the times.
Feng Ying, who was born in the 1960s, grew up listening to the singing section of "Red Lantern" and the melody of "Red Detachment of Women". As soon as she was young, she danced in the mirror as soon as she heard these melodies, and perhaps this was her fate with dance.
During a class, the dance teacher went to her class to select ballet dancers, and immediately selected Feng Ying, who was sitting in the back row. "When I was a kid, I was still a bit square-shouldered, a little chubby and round, and it was 'ballet' who chose me. But after six years of ballet training, I was recast for a me." It is not only the reshaping of the body shape and posture, but also the shaping of the soul by art. From not knowing what ballet is, to becoming a "Qionghua" on the stage, this is a journey of hard work for a little girl to a ballet dancer. The melodies I heard as a child often sounded in my head, inspiring one day and one day after another in the practice room. Finally, in 1992, when the National Ballet of China rearranged "The Red Detachment of Women", Feng Ying became the third generation of Qionghua and became the protagonist on her "art list". And her biggest problem at that time was that "she was too thin", in order to create a strong and powerful image of Qionghua, Feng Ying even went to the dental hospital to do dental braces to make her face look fuller.
"'Red Detachment of Women' Army" uses Western ballet vocabulary and integrates Chinese elements such as opera and martial arts, which is itself an innovation. From the perspective of the whole shape, it also subverts everyone's original understanding of Western classical ballet." From dreaming to working hard at all costs to a deep understanding of art, Feng Ying completed a comprehensive interpretation and interpretation of her "art list" works, and Feng Ying's version of "Red Detachment of Women" became a classic.
"Dream of the Red Chamber" and "La Traviata" both have their own shadows
The second group of works on Feng Ying's art list is the classic literary works "Dream of the Red Chamber" and "La Traviata".
(Xu Sen and Chi Xiaojing sing "Drinking Song")
Whether it is "Lin Daiyu" or "Margaret", Feng Ying read herself out of them. "Lin Daiyu" is one of the classic stage roles created by Feng Ying in her ballet career. This well-known literary figure has a distinct personality and has different ways of showing it in literature, opera, film and television works.
"In the beginning, the image of Yue opera had the deepest influence on me." When interpreting the dance drama "Lin Daiyu", Feng Ying not only substituted her own understanding as a reader of literary works, but also substituted a dancer's dance shaping of the virtual literary image.
"Every time you play a role, you have to set yourself in a scene. I thought: Like Lin Daiyu, I grew up in my grandmother's parents. Because I live in the dormitory because I learn to dance, I have that feeling of loneliness, and I deliberately find that feeling of loneliness during the New Year. At that time, I was completely masochistic, leaning in a corner, leaning on the edge of the table, feeling Lin Daiyu's feelings. "Dance artists not only practice their posture, but also reshape a mentality for the role. She can be a strong, capable, and unwilling "Qionghua", or she can be a sentimental "Lin Daiyu" on the stage.
At the same time, Feng Ying watched the opera "La Traviata". "I think Margaret and Lin Daiyu have a lot in common." One is an external rebellion, the other is an internal rebellion, although the story takes place in different countries and at different times, but they are all female images shaped by artistic means, which is an interpretation and interpretation of women's destiny.
Feng Ying's image of the dance drama Lin Daiyu has been recognized by the red scholars, and even the film director invited Feng Ying to play the film and television drama Lin Daiyu, Feng Ying was happy but declined, happy that he used the vocabulary of ballet to create a classic character recognized; the rejection stemmed from his loyalty and dedication to the ballet cause. Whether it is "Dream of the Red Chamber" or "La Traviata", the influence of art on artists is not only a temporary touch, but also gives people wisdom and enlightenment, and inspires artists to create new works.
The "Dunhuang Murals and paris Opera Murals" were put on the ballet stage
The Dunhuang Grottoes and the Paris Opera House are treasures of human civilization, and countless artists are exploring the civilization code they have left behind, which is the expression of human beauty and thought. Because of ballet, Feng Ying is not only a "tourist" of these two world cultural heritage sites, but also a creator of art who has been collecting inspiration here for a long time.
Feng Ying studied dance at the Paris Opera from 1982 to 1983. As soon as you enter the Paris Opera, you can truly understand the meaning of "palatial". The dome in the fresco was painted by Mark Chagall in 1964, and Chagall's colorful, dreamy work covers nearly 2,600 square feet and depicts opera scenes by 14 composers, including Beethoven and Debussy.
Also shocking to us are the distant Chinese Dunhuang murals, "The National Ballet of China created the ballet "Dunhuang" in 2017, and we went to collect the wind and stuck there for three months. We were struck by a lot of art, including the mural 'Offerings' figure, from which we found a lot of inspiration for the matching of costumes and colors."
At the scene of the show, Feng Ying also brought some costumes for the ballet "Giselle" and "Don Quixote", which were made by Feng Ying himself in the second creation of the Chinese Bazaar rearrangement, and added to the understanding of the times and the character of the character. Distant and ancient art may be like this, through the discovery and action of contemporary artists, quietly passing on beauty to us.
It is said that Feng Ying in life is also "color control", even the color of the mask must be matched with the clothing, this kind of artist's "exquisite" is also the pursuit of beauty and the excellence of the cause.
The dance "Crane Soul" and "Swan Lake" - Feng Ying's "perfect" stage career
Feng Ying's graduation works and curtain call works are the ballet "Swan Lake". This classic work has become a "circle" of Feng Ying's 27-year ballet stage interpretation career.
Black Swan's classic "32 laps of whiplash" has become the symbol of Feng Ying's successful stage career challenge. In 27 years of ballet stage interpretation career, Feng Ying became a leading figure on the stage of China Ballet and was recorded in history by a ballet era.
Stepping off the stage and behind the scenes, Feng Ying actively encouraged creation, giving young dancers more possibilities in their limited artistic lives, and telling Chinese stories with the times in ballet vocabulary. "Crane Soul" is the original play launched by China Ballet in 2015, based on the story of Xu Xiujuan, a girl who raised cranes, at the age of 23, Xu Xiujuan was unfortunately killed by saving a swan, her spirit deeply touched Feng Ying, and this drama also deeply touched the audience, and was called the Chinese version of "Swan Lake" by the audience. The image of the crane is very consistent with the action design of the ballet dancer, and under the artistic expression, it has become another masterpiece of Chinese ballet, which is also one of the contributions of Feng Ying as the behind-the-scenes manager to ballet.
Born in 1963, Feng Ying is still a perfect figure, elegant temperament and determined eyes, still an important figure in the ballet career, which is the best gift of art to a woman!
This episode will air on December 30, 2021 at 21:03 CCTV-3, so stay tuned. (Text/Ma Ning Photo/Shi Haojun)
Source: CCTV Variety