Interpreting art in novel styles and forms is a delicate matter – almost as delicate as creating it. When film began to earn its status as an autonomous art form, critics emphasised its difference with theatre and its ability to do what the latter could not, mirroring more recent approaches to screendance...
Isabel Hernandez-Gil Crespo
Isabel Hernández-Gil Crespo holds a BA in Philosophy from the University of Cambridge, and has published articles on the philosophy of film and aesthetics. She has also trained professionally as a classical and contemporary dancer and is working towards an aesthetic theory of dance, which was presented at seminar held by Newnham College, Cambridge. She is currently studying an MA on the history of contemporary art at the Reina Sofía Museum in Madrid.
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Tanztage Berlin 2024 — Choreographing Complexity Through Emerging Dance Artists
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Rush – Imaginative Retrospective with a Touch of Humour
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Giselle by English National Ballet - rich in all the historical details, yet shallow at times
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La Strada as a life journey through circus archetypes
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There is no limit to our love for ballet. Forsythe premiered at the Berlin Staatsballett.
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Josef Bartos
Thank you for your thoughts. One got stuck in my mind – that passion makes us different from AI. Just yesterday I read…I am a dance critic. I am a member of an endangered species