mazurier - Synonyms for mazurier | Synonyms Of mazurier

Examples of "mazurier"
The bones were displayed in Paris by Pierre Mazurier, a surgeon who claimed to be one of the finders.
The cancan is believed to have evolved from the final figure in the quadrille, which is a social dance by four couples. The exact origin of the dance is unknown but the steps may have been inspired by a popular entertainer of the 1820s, Charles Mazurier, well known for his acrobatics, including the grand écart or jump splits — both popular features of the cancan.
Ponsard-Ansaloni was the brand name of a power pack conversion manufactured in France only in 1898. The contraption, which had a twin-cylinder Roser-Mazurier engine, was meant to convert horse-drawn carriages into automobiles. It was also marketed under the name "Brulé".
This group of Humanists also included Josse van Clichtove, Martial Mazurier, Gérard Roussel, and François Vatable. The members of the Meaux circle were of different talents but they generally emphasized the study of the Bible and a return to the theology of the early Church. While working with Lefevre in Meaux, Farel came under the influence of Lutheran ideas and became an avid promoter of them. After condemnation by the Sorbonne, Farel evangelized fervently in the Dauphiné.
The street was once known as rue des Poulies. In 1415, a noble called le Mazurier offered the Chief Prior of France a huge private mansion with 24 bedrooms to receive 48 poor people. These people were so poor that they didn't pay the taxes of the city, and were called "francs-bourgeois". In 1868, the street was joined with "rue neuve Saint-Catherine" and "rue du Paradis au Marais".
As a result of the activities of Éluard, his bookstore, where false documents were transmitted, became a rallying point for the messengers of the Éditions de Minuit, to whose network he was attached, particularly Yvonne Paraf, known as Yvonne Desvignes. Lucien Scheler signed of pseudonyms (Jean Silence or Jean-Paul Mazurier) the poems he entrusted in 1943 to Paul Éluard and Jean Lescure for "". In April 1944, he established the second issue of a "Bibliographie de France", a perfect imitation of the official edition, in which he listed all the literary publications produced by the clandestine editions.
Born in the Swiss resort of St. Moritz, her parents were diplomat Ștefan Lupașcu (1872–1946) and his French wife Maria Mazurier. Her father, a high-ranking Freemason, descended from the boyar nobility of Moldavia. He was the paternal uncle of French philosopher Stéphane Lupasco. Velisar's mother, a former governess, was shunned by Lupașcu, and largely absent from Velisar's life; with her father also away on diplomatic and business trips, she was mostly raised by Romanian relatives. According to stories she later told her friends, Ștefana attended primary school in France. She graduated from the central girls' school in Bucharest, headed by her aunt Maria, wife of the novelist Barbu Ștefănescu Delavrancea.
At the Salle Favart, created "Céleste" (the role of Mazurier), "le Chemineau" (Thomas), "Circé" (Politès), "La Danseuse de Pompéi" (Philippe), "La Fille de Tabarin" (Frère Eloi), "Le Follet" (Jeannic), "Les Fugitifs" (Méraudon), "L'Heure Espagnole" (Inigo), "Télémaque" (Ménélas), "Mârouf" (Vizir), "La Marseillaise" (Moreau), "Myrtil" (Probulos), "La Petite Maison" (Dominique), "La Reine Fiammette" (Lucagnolo), "La Revanche d'Iris" (Diogène), "Sanga" (Gauchut), "Le Secret de Maître Cornille" (Cornille), "Solange" (le Maire de Saint-Dié), "Titania" (Mathieu), "Les Visitandines" (Frontin), "Feminissima" (le Précepteur) and sang in major revivals and local premieres of "Hansel et Gretel" (le Père), "Macbeth" (le Portier) and "Tosca" (le Sacristain),
He retired to Toulouse and declined an offer from that theatre that he become its ballet master. His eldest son, Frédéric-Auguste Blache (1791- ?) revived his father's work at the Théâtre de la Porte Saint-Martin from 1816 to 1823, then at the Ambigu-Comique, where he revived the "La Fille soldat". Frédéric-Auguste also wrote "Polichinelle vampire", interpreted by Charles-François Mazurier (1823) and "Jocko ou le Singe du Brésil" (1825). Jean-Baptiste's younger son, Alexis-Scipion (1792-1852), was a ballet master at Lyon, Paris, Marseille, Bordeaux and St-Petersburg.
From 1825 to 1829, Coralli served as ballet master of the Théâtre de la Porte Saint-Martin in Paris, where he created ten full-length ballets and "divertissements" for fourteen plays. His company included Charles-François Mazurier, a noted comic dancer, as well as Jules Perrot (1810-1892) and Joseph Mazilier (1801-1868), talented dancers who would both become famous choreographers. The Porte Saint-Martin was known for its championship of the Romantic drama and its innovative ballets, many of which anticipated the productions of the Paris Opera. For an 1828 play, Coralli choreographed a "pas de sylphides" that foreshadowed the supernatural "ballets blancs" of later years.
As Bishop, Briçonnet began to implement a program of reform in his diocese. He worked to improve the training of his clergy as well as improving monastic discipline. In the course of these efforts however he made some enemies particularly among the Franciscan friars within his diocese. Additionally, Briçonnet invited a number of evangelical humanist to work in the bishopric to help implement his reform program. This group of humanists became known as the Circle of Meaux and included Josse van Clichtove, Guillaume Farel, Jacques Lefèvre d'Étaples, Martial Mazurier, Gérard Roussel, and François Vatable. The members of the Meaux circle were of different talents but they generally emphasized the study of the Bible and a return to the theology of the early Church.
Legrand's physique seemed, to the admirers of his predecessor, unsuited to pantomime. Charles Deburau complained to the mime Séverin that he was too thick-set, his trunk and arms too short, his face too fat and round for a mime; he lacked elegance and grace. The poet and journalist Théophile Gautier, in a review of "The Wager" (1846), performed by Legrand at the Funambules, also missed "that unusually long musculature in the legs and arms—natural in some [mimes], obtained in others by dint of hard work—which allowed Mazurier and Ravel to execute their astonishing leaps", and he counseled lessons in "the difficult art ... of delivering and receiving the kick." But Legrand's schooling had been in the roles of the lover Leander, not in those of the acrobatic "zanni"; he brought a dramatic (and romantic) sensibility to his Pierrot. And soon Gautier began to value the difference: when Legrand appeared in "Marquis Pierrot" (1847), a pantomime by Champfleury, Gautier compared him, in the range and finesse of his acting, to the great comic actor : "inasmuch as he is humble, piteous, melancholy, greedy, wheedling, stealthy, endearing, hypocritical in the first part of the piece, so is he arrogant, insolent, scornful—a regular Marquis de Moncade—in the second. What unprecedented truthfulness, what depth of observation ... " It was not the musculature but the mask that was important to Legrand, as Gautier gradually realized: "How many shades of feeling," he wrote of Legrand's performance in "The Brigands for Laughs" (1857), "how many ideas he summoned beneath this thick layer of flour that serves him as mask!"