I cannot provide a complete translation as the text provided appears to be only a name or incomplete headline. "Alicia Alonso-Gise" seems to be a person's name rather than a full news headline. If you could provide the complete headline, I'd be happy to translate it.

December 24, 2020

Yesterday, December 23rd, a Gala performance was held, dedicated to the Centenary of the birth of Master Alicia Alonso with the screening at the Acapulco cinema in the capital of the film Giselle, by Cuban filmmaker Enrique Pineda Barnet, National Film Prize winner.

Giselle was filmed in 1964, and featured a screenplay by Pineda Barnet, based on the plot of the two-act ballet with libretto by Vernoy and choreography by Alicia Alonso, based on the original by Coralli and Perrot.

The cinematography was by Antonio Rodríguez; production by Raúl Canosa; editing by Carlos Menéndez; Set Design: Efrén del Castillo; and sound by Eugenio Vesa, Adalberto Jiménez and Marcos Madrigal.

This sui generis film of 88 minutes is a film about the staging of the ballet, and featured performances by Alicia Alonso, Azari Plisetski, Fernando Alonso, José Parés, Mirta Plá, Loipa Araujo, Vania Mischvek, Ana Marini, Josefina Méndez, Margarita de Saá, and the dance corps of the National Ballet of Cuba.

The film Giselle was chosen among the most significant of the year in the Annual Selection of the Criticism of Cuba in 1964, and Pineda Barnet was awarded a Diploma by the Jury of the Dance Films Award Competition, Dance Films Association Inc., of New York, in 1979.

Giselle, brought to the cinema, is a valuable film document of incalculable value for the historical memory of the renowned National Ballet of Cuba and its founder, prima ballerina assoluta Alicia Alonso.

The Master rightly valued this film and at the time considered the difficulties involved in filming the famous ballet, which forced modifications to some of the characteristics of the choreography; on this subject she commented:

"One of the main obstacles we have had to overcome through concentration has been the fragmentary nature of the scene recording. In a performance there is continuous development, which allows the natural process of expression of passions. Here the constant interruptions take you out of the drama, and for the next take you have to recreate the state of mind that the situation and the character demand. But it is worth going through these difficulties, because this way something will remain that will reach many audiences, even the most humble, and that will remain for the dancers and artists who come after us."