Alla Chiesa di San Salvatore in Ognissanti a Firenze; curiosamente esclusa dai maggiori itinerari turistici nonostante costituisca uno dei rarissimi casi di Barocco fiorentino; Marco Pomella dedica un saggio documentato e appassionato; ricostruendone la genesi storica e lrsquo;evoluzione architettonica; il rapporto fra gli spazi e gli arredi; e soprattutto valorizzandone la facciata a opera di Matteo Nigetti; espressione della consonanza spirituale fra architettura Osservantina e direttive della Controriforma. Marco Pomella (Firenze; 1974) egrave; laureato in Storia dellrsquo;Architettura. Attento cultore dellrsquo;architettura rinascimentale della sua cittagrave;; ha pubblicato Il quadrato tra astrazione e realtagrave;; tra logica e bellezza (2012); mettendo a fuoco il rapporto tra figura geometrica; complesso architettonico e tessuto urbanistico.
#2300819 in eBooks 2013-05-01 2013-05-01File Name: B00CST3OI6
Review
4 of 6 people found the following review helpful. Save your Money!By Michael J. BegleyAvoid this like the plague. In truth; Im reviewing about the first third of the book - by then it had peaked out on my bovine excrement meter. Mr. Frankel has written a book on writing a Broadway Musical... maybe he understands that better. His credits say he has taught Shakespeare for 30 years; which suggests an alternate title "Why American Actors Still Cant Perform Shakespeare." Mr. Frankel shows but a superficial understanding of Original Pronunciation - I guess he hasnt had time to review Helge Kokeritzs "Shakespeares Pronunciation"; I mean it was only published in 1953! He seems blissfully ignorant of the work of David and Ben Crystal in this area. He doesnt understand the structure of Shakespeares language - this is not Tennesse Williams where you can mumble half the night; scream "Stella; Stella" and be a great success because of emotional truth. You cant understand Shakespeare without understanding the meter - its the way Shakespeare tells us his meaning. "To be or not to be" doesnt have 9 or 10 possible stress patterns - it has ONE. Its in friggin iambic pentameter which means the verse tells us the stress should be "To BE or NOT to BE". That MUST be the starting point - if an actor chooses to create a tension with the meter; that might be a choice. But its BS if you dont understand the written stress pattern and have a good reason to create the tension. Mr. Frankel is concerned with action - action is the LEAST important part of Shakespeare. What Shakespeare left is WORDS and before you even begin to think about action; you need to understand the words - the meaning; the verse structure; the puns that were present in OP. Its hard; tedious; time-consuming work; if you dont want to do that work; do modern plays. If you want Shakespeare to sound modern; write your own friggin play. I write this on the 397th anniversary of Shakespeares death - if he werent gone; this book would probably have caused him to burst a couple of blood vessels. If you want a GOOD book on acting Shakespeare; try John Bartons "Playing Shakespeare". When I have more time; Ill tell you what I really think.0 of 3 people found the following review helpful. A Directors Guide to the BardBy Howard HunterA splendid guide for actors and directors who are interested in Shakespeare (and which actors and directors are not?). This is also an excellent text for students and others who simply want to understand the craft of theater and the work of actors. The book is based on the authors long career as a trainer of actors and as a director; and there are insights which are useful for almost anyone who is involved with theater.1 of 4 people found the following review helpful. Terrible. A Travesty.By TonyaA disaster. Sketchy. Chatty. Full of misinformation. A waste of paper. How in the world did it get published??? Its offensive.