Ci sono incontri; ricerche; idee; tentativi; visioni... appunti che progressivamente vanno a combinare in un mosaico tutto il percorso artistico e la vita di una delle piugrave; importanti voci della cultura italiana degli ultimi decenni.I "frammenti" sono citazioni testuali estrapolate da un ampio archivio (colloqui; scritti e interviste) presentate in forma di discorso: un lungo e generoso discorso fatto da Giorgio Gaber in parallelo alla produzione degli spettacoli teatrali ideati insieme a Sandro Luporini. Il "discorso" si svolge per lo piugrave; con lo stile del dialogo diretto: attraverso un linguaggio personale e denso Gaber svela le riflessioni; i dubbi; le intenzioni; lrsquo;evoluzione del pensiero che hanno accompagnato la sua avventura esemplare di uomo ldquo;tutto interordquo; nel mondo della cultura; del teatro e dello spettacolo. Alcune annotazioni essenziali fanno da riferimento agli argomenti trattati e piccoli stralci evocativi dei brani teatrali inframmezzano il testo. (II edizione ampliata; in eBook)
#1237830 in eBooks 2014-09-01 2014-09-01File Name: B00OFZ69EM
Review
6 of 6 people found the following review helpful. such a disappointment!By S. H. LEEA dictionary of art with a single picture: the one on the cover! Is it enough for such a price?Is the text actually justifying it? Such a dictionary should be written by a team not a single writer.The author seems to know well French art; so about half of the 300 entries are linked to. But no entry for painters like Delaporte; Doyen; Halleacute;; Largilliegrave;re; Leacute;picieacute;; Pierre; Pillement; Restout; Quillard or Subleyras; no entry for sculptors like Adam; Caffieri; Clodion; R. Le Lorrain; Pajou or Slodtzhellip; And where is the name of the goldsmith Germain family?But other countries are not so lucky. How could one explain that German art has quite the same number of entries than Spanish art (about 20 (!) for every country) when it appears easy to define rococo in Germany but difficult for Spain? And no entry for Wies; Dresden (but one for Zwinger) or Augsburg; quite no name of any German ornementalist; engraver; painter or stuccoist and very few sculptors!Concerning Spanish art; there is nothing on the Murcia Cathedral; the Palace of Marqueacute;s de Dos Aguas in Valencia; the altar-maker Cayetano Acosta in Sevilla; Francisco Xavier Pedraxas (active in Priego of Coacute;rdoba and Granada) and (why not if one include Asam Brothers from Munich?) Narciso Tomeacute; and his Transparente in Toledo Cathedral! There is an entry for Portugal but itrsquo;s nothing when one forget to mention the rococo of the North (especially around Braga) and gilded woodcarving (Wikipedia is better in that point!). And thatrsquo;s all for Iberian world because the entry for ldquo;Americanrdquo; Rococo is about "U. S." rococo and there is absolutely nothing on Latin America. What about Pedro Joseph de Roxas; Ignacio Mariano de las Casa and the Quereacute;taro Style? What about the Brazilian sculptor and architect called Aleijadinho and the region of Ouro Preto? Has the author really read the books by Smith and Delaforce (on Portugal) or by Kubler Soria (on Spain; Portugal and Latin America) she cites in Bibliography?I thought that Central and East European world wasnrsquo;t so poor in Rococo art! You canrsquo;t find even the name of Maulbertsch; the great "Austrian" painter of rococo; or the one of master Pinzel; the great "Ukrainian" sculptor. And what about Rastrelli in Russia?Itrsquo;s difficult to define Italian rococo but why entries for Della Bella and Bernini when the author absolutely ignores Piazetta and Fra Galgario and donrsquo;t give an entry to Ricci? Why Juvarra and not Vittone?Last but nor least; Irsquo;ve just counted 309 actual entries; not the "over 350" mentionned.Such a disappointment...
