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Standard 2. Students demonstrate an understanding of the relationship between the practices and perspectives of the culture studied [ The metteur en scene researches practices and shares them with the group ]. Students demonstrate an understanding of the relationship between the products and perspectives of the culture studied [The redacteur de dictionnaire and the chef de cuisine both examine food as a cultural product, and share their findings.

Connections to other disciplines to acquire information. Standard 3. Students reinforce and further their knowledge of other disciplines through the foreign language [All students connect to math by converting metric units, and have the opportunity to practice converting euros to dollars].

Students acquire information and recognize the distinctive viewpoints that are only available through the foreign language and its cultures [Students are exposed to the metric system].

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Comparisons of languages and culture. Standard 4. Students demonstrate understanding of the nature of language through comparisons of the language studied and their own. Students demonstrate understanding of the concept of culture through comparisons of the cultures studied and their own.

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Communitie s: Standard 5. Students use the language both within and beyond the school setting [In this lesson, students use the language within the school setting, and are creating guides that can be used for future beginning French students. However, the section "further study" suggests that they interview native French speakers.

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Students show evidence of becoming life-long learners by using the language for personal enjoyment and enrichment. But why the heck have they waited so long? Even small depanneurs now have their own Facebook page! How is it, indeed, that there remain large banners in Quebec that are still reluctant to fully leverage this free medium allowing them to reach their customers and communicate their brand values?

Loblaws, its English-speaking counterpart, has one for Ontario, although under-exploited with fewer than 60, followers. Since Pluton was originally played by a famous female impersonator, this song contains numerous falsetto notes. Pluton tricks her into walking into the trap by showing immunity to it, and, as she dies, transforms into his true form Transformation Scene. They descend into the Underworld as soon as Eurydice has left a note telling her husband she has been unavoidably detained Descent to the Underworld. The scene changes to Olympus, where the Gods sleep out of boredom "Dormons, dormons".

However, Jupiter, shocked at the behaviour of the supposedly virgin goddess, has turned Actaeon into a stag.

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Pluto then arrives, and reveals to the other gods the pleasures of Hell, leading them to revolt against horrid ambrosia, hideous nectar, and the sheer boredom of Olympus "Aux armes, dieux et demi-dieux! Jupiter's demands to know what is going on lead them to point out his hypocrisy at great length, describing — and poking fun at — all his mythological affairs.

The other gods beg to come with him, he consents, and mass celebration breaks out at this holiday "Gloire! Eurydice is being kept locked up by Pluto, and is finding life very dull. Jupiter spots where Pluton hid Eurydice whilst being shown around by him, and slips through the keyhole by turning into a beautiful, golden fly. Afterwards, he reveals himself to her, and promises to help her, largely because he wants her for himself. The scene shifts to a huge party the gods are having in Hell, where ambrosia, nectar, and propriety are nowhere to be seen "Vive le vin!

Vive Pluton! Unfortunately, Jupiter can only dance minuets which everyone else finds boring and awful "La la la. Le menuet n'est vraiment si charmant".

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Public Opinion keeps a close eye on him, to keep him from cheating, but Jupiter throws a lightning bolt, making him jump and look back, and so all ends happily, with a reprise of the Galop. Conveniently positioned in Theatreland, the theatre is near both Trafalgar Square and Leicester Square and benefits from the proximity of a number of tube stations and Charing Cross national rail station. With the widest stage in London, it is a perfect venue for dance and performing arts companies. The glorious Edwardian architecture and interiors were magnificently restored in , providing a beautiful auditorium and wonderful entertaining spaces throughout the building.

Matcham wanted a Theatre of Variety — not a music hall but equally not highbrow entertainment. The resulting programme was a mix of music hall and variety theatre, with one act - a full scale revolving chariot race - requiring the stage to revolve.

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It was opened in and the inaugural performance was a variety bill on 24 December that year. With 2, seats it is the largest theatre in London. It underwent extensive renovations between and when an original staircase planned by Frank Matcham was finally put in to his specifications. The theatre changed its name from the London Coliseum to the Coliseum Theatre between and After it was mainly used for American musicals before becoming in a cinema for seven years.

The auditorium and other public areas were returned to their original Edwardian decoration and new public spaces were created. The theatre re-opened in The London Coliseum has the widest proscenium arch in London 55 feet wide and 34 feet high — the stage is 80 feet wide, with a throw of over feet from the stage to the back of the balcony and was one of the first theatres to have electric lighting.

A range of modern features included electric lifts for patrons, a roof garden and an Information Bureau in which physicians or others expecting urgent telephone calls or telegrams could leave their seat numbers and be immediately informed if required. Charing Cross - 0.