A centenary production was staged in London by students of the Central School of Speech & Drama in March 1974. Professional revivals have been presented at the Odéon Theatre, Marseille in 2007, and the Grand Théâtre, Angers, in 2016."Giroflé Girofla", Regard en Coulisse.
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According to Payen,Payen Jacques (1987?): "Walschaerts, sa coulisse, sa vie" in Les Cahiers Chapelon, no 5, pp 26-31. in 1874 Walschaerts developed a particularly successful version of the Corliss stationary engine that won a gold medal at the 1878 Exposition Universelle in Paris.
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4Adams, William Davenport. A Dictionary of the Drama, 1904, p. 177 Seymour stayed with Black Eyed Susan through June, after which she assumed the role of Fettalana to Letty Lind's Cinder-Ellen and Sylvia Grey's Linconsina for the last few performances at the Grand Theatre of the popular burlesque comedy, Cinder Ellen up too Late.Cackle of the Coulisse.
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In pièce- sur-pièce construction, timbers with tenons (projections) cut on each end are laid atop one another horizontally. The tenons are inserted into vertical grooves in periodically spaced vertical posts (coulisse). The fort was surrounded by a palisade fence. Due to the damp conditions of the site, wooden structures rotted quickly necessitating replacement of the bastion timbers and palisade posts at approximately five-year intervals.
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In 1756, he served first on the frigate Aquilon, and then on the 80-gun Duc de Bourgogne, and the year after on the 64-gun Saint Michel. From 1759, Cercy served on the frigates Aragon, Sardaigne and Oiseau, before transferred to the ship Content. In 1765, Cercy was promoted to Lieutenant. The year after, he served on Coulisse. In 1770, he was first officer on the 64-gun Bizarre.
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Disney Studio 1 is the largest building and attraction located in the Walt Disney Studios Park in Disneyland Paris. Guests entering the park must walk through the building to have access to the remainder of the park. The interior is a reconstruction of a street in Hollywood. Inside Disney Studio 1 are a number of services including Restaurant en Coulisse, a fast-food restaurant, and numerous stores selling gift items.
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Theater flats under construction. A flat (short for scenery flat) or coulisse is a flat piece of theatrical scenery which is painted and positioned on stage so as to give the appearance of buildings or other background. Flats can be soft covered (covered with cloth such as muslin) or hard covered (covered with decorative plywood such as luan). Soft-covered flats have changed little from their origin in the Italian Renaissance.
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In Paris, only agents de change could receive a commission, at a rate fixed by law, for acting as an intermediary. However, parallel arrangements were usual in order to favor some clients' quote. The Commodities Exchange was housed in the same building until 1889, when it moved to the present Bourse de commerce. Moreover, until about the middle of the 20th century, a parallel market known as "La Coulisse" was in operation.
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A rare example of the pièce-sur-pièce à coulisse technique once common in French-Canadian buildings, it is one of the oldest buildings in Wisconsin and is listed on the National Register of Historic Places. The US was slow to present any authority over Prairie du Chien, but late in the War of 1812 when the government realized the importance of holding the site to prevent British attacks from Canada, it began construction of Fort Shelby in 1814.
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Some tabula scalata have the two pictures matched in shape and size, which practically creates a simple type of morphing effect when the viewing angle changes. A variation, known as "triscenorama" or "tabula stritta" has three images: two on each side of perpendicular slats in front of the third picture. The basic idea of tabula scalata and tabula stritta is somewhat similar to that of the ancient triangular periaktos theatre coulisse and that of the modern day Trivision billboard.
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The Commodities Exchange was housed in the same building until 1889, when it moved to the present Bourse de commerce. Moreover, until about the middle of the 20th century, a parallel market known as "La Coulisse" was in operation. Until the late 1980s, the market operated as an open outcry exchange, with the agents de change meeting on the exchange floor of the Palais Brongniart. In 1986, the Paris Bourse started to implement an electronic trading system.
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The Paris Bourse (or stock exchange) emerged as a key market for investors to buy and sell securities. It was primarily a forward market, and it pioneered the creation of a mutual guarantee fund so that failures of major brokers would not escalate into a devastating financial crisis. Speculators in the 1880s, who disliked the control of the Bourse, used a less regulated alternative, the "Coulisse". However it collapsed in the face of the simultaneous failure of a number of its brokers in 1895–1896.
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Michael Gavin, "Intertemporal dimensions of international economic adjustment: evidence from the Franco- Prussian War Indemnity." American Economic Review 82.2 (1992): 174-179, online] The Paris Bourse or stock exchange emerged as a key market for investors to buy and sell securities. It was primarily a forward market, and it pioneered in creating a mutual guarantee fund so that failures of major brokers would not escalate into a devastating financial crisis. Speculators in the 1880s who disliked the control of the Bourse used a less regulated alternative the Coulisse.
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He was a leader writer on the Illustrated London News, to which journal at a later period he furnished a weekly article under the name of Nothing in the Papers. He conducted the Literary Gazette 1858–9, and edited Home News after the death of Robert Bell in 1867. To a volume edited by Albert Smith in 1849, called Gavarni in London, he furnished three sketches — The Opera, The Coulisse, and The Foreign Gentleman; and in companionship with Angus B. Reach he published A Story with a Vengeance in 1852. At thirty-eight years of age he began to assert his claim to consideration as a popular novelist by writing Aspen Court: a Story of our own Time.
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The palace can be regarded as typical for nineteenth-century architecture. The shapes of Romanesque (simple geometric figures such as cuboids and semicircular arches), Gothic (upward-pointing lines, slim towers, delicate embellishments) and Byzantine architecture and art (the Throne Hall décor) were mingled in an eclectic fashion and supplemented with 19th-century technical achievements. The Patrona Bavariae and Saint George on the court face of the (main building) are depicted in the local Lüftlmalerei style, a fresco technique typical for Allgäu farmers' houses, while the unimplemented drafts for the Knights' House gallery foreshadow elements of Art Nouveau. Characteristic of Neuschwanstein's design are theatre themes: Christian Jank drew on coulisse drafts from his time as a scenic painter.
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In his book "Réflexions sur le franc et sur quelques autres sujets" (thoughts about the Franc and some other topics, Paris 1926) John Maynard Keynes reminds the German diplomats Bergmann and bay and writes about Bergmann:«M. Bergmann s’est trouvé constamment dans la coulisse, depuis la nomination du comité d’organisation de la Commission des Réparations, en 1919, jusqu’à l’adoption du plan Dawes, en 1924. Il a été l’un des plus heureux représentants de cette catégorie d’hommes qui ne restent pas assis dans leurs fauteuils dorés, mais établissent avec le camp opposé des relations amicales, exemptes de tout formalisme.» In: John Maynard Keynes, Réflexions sur le franc et sur quelques autres sujets, Kap. II: Les dettes de guerre: La reconstruction financière de l’Allemagne.
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