https://hdl.handle.net/2123/7136 2026-06-04T17:51:49Z 2026-06-04T17:51:49Z Fitzpatrick, Tim https://hdl.handle.net/2123/7841 2026-05-26T02:28:04Z 2011-01-01T00:00:00Z

The Knight of Malta Fitzpatrick, Tim Analysis done 1999, revised July 2002. Note tomb scene which foresees only two doors, and bookholder's SD on preparing altar for final scene.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7842 2026-05-26T02:28:04Z 2011-01-01T00:00:00Z

Coriolanus Fitzpatrick, Tim Last revised 1998

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7840 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

All's Well that Ends Well Fitzpatrick, Tim High incidence of marked congestions to delineate changes of lcation.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7849 2026-05-26T02:28:02Z 2011-01-01T00:00:00Z

The Distresses Fitzpatrick, Tim Clear inwards-outwards logic in dialogue references to enable discovery at inwards door. Scene breaks not marked in text, has been segmented according to 'clere' stage principle.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7847 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

The Spanish Tragedy Fitzpatrick, Tim Revised 2002. Hieronimo's various runnings 'lunatic' in and out of doors represent his insanity. Leads to chaotic door patterns at times.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7845 2026-05-26T02:28:04Z 2011-01-01T00:00:00Z

A Maidenhead Well Lost Fitzpatrick, Tim Last revised 2002.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7850 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

The Revenger's Tragedy Fitzpatrick, Tim Revised 1998. Note interesting repeat exit patterns for Hippolito.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7816 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

The Cardinal Fitzpatrick, Tim Features some clear instances of simultaneous mid-scene entrances and exits.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7811 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

Antony and Cleopatra Fitzpatrick, Tim Analysis done 1998

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7830 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

A Knack to Know an Honest Man Fitzpatrick, Tim This play contains a number of references to 'door' and 'doors' in the singular and plural which lead Andrew Gurr to posit a stage configuration with two single lateral doors and a set of double doors upstage centre. But he has missed some references that refer to plural doors on the sides...see text of book.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7833 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

As You Like It Fitzpatrick, Tim Last revised 2002

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7834 2026-05-26T02:28:04Z 2011-01-01T00:00:00Z

Orlando Furioso Fitzpatrick, Tim Slightly adapted from table kindly supplied by David Hertzberg (a table which formed part of his 1998 Honours thesis in the Dept of Performance Studies, Sydney University).

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7836 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

The Second Maiden's Tragedy Fitzpatrick, Tim High number of marked congestions between two plot strands. Note use of onstage choric figure to facilitate logistics.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7831 2026-05-26T02:28:02Z 2011-01-01T00:00:00Z

Antonio and Mellida Part 1 Fitzpatrick, Tim Stage directions are explicit and very interesting, particularly regarding use of gallery. Analysis 1999.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7835 2026-05-26T02:28:04Z 2011-01-01T00:00:00Z

Henry VI part 2 Fitzpatrick, Tim Checked 2002.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7832 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

Cymbeline Fitzpatrick, Tim Quite high count of congestions between scenes, but most of them minimal or minimised.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7837 2026-05-26T02:28:04Z 2011-01-01T00:00:00Z

Measure for Measure Fitzpatrick, Tim Last revised 2002

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7814 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

Hamlet Fitzpatrick, Tim Analysis done 1998. This reflects the ('good') second Quarto and Folio texts.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7828 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

The English Traveller Fitzpatrick, Tim Parallel plots seem to be 'ruled off' from each other by marked congestion patterns between the relevant scenes.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7824 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

Antonio's Revenge Fitzpatrick, Tim This play is also known as Antonio and Mellida Part 2. Stage directions are explicit and very interesting, particularly regarding discoveries. Analysis 1999.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7827 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

The Alchemist Fitzpatrick, Tim Unusually low number of scene breaks with 'clere' stage, as Face or Subtle remains onstage between 'scenes' with entering characters.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7821 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

Twelfth Night Fitzpatrick, Tim Table initially done by Penny Gay, revised in 1998 and 2002 (overtaking scene)

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7823 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

Macbeth Fitzpatrick, Tim analysis done 1998, revised 2002. Some scenes I would now characterise as extrusions; and I would switch Lady Macbeth's entrance in 2.2 to the inwards door. Despite Banquo's references in 2.1 that would place her elsewhere than Duncan's chambers, she now suddenly appears from there, having 'laid their daggers ready' (2.2.11). A surprise re-entrance as in Antony and Cleopatra 1.2.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7825 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

Much Ado about Nothing Fitzpatrick, Tim Note particularly the implications of two doors for the monument scene and that following, where same door must serve as monument and Leonato's house.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7822 2026-05-26T02:28:02Z 2011-01-01T00:00:00Z

Tamburlaine the Great part 1 Fitzpatrick, Tim Last revised 2002; one section of binrary rather than triangulated opposition between Tamburlaine and his enemies.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7820 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

Hengist, King of Kent Fitzpatrick, Tim Fortune's altar needs only a pre-set concealment space, not a discovery space. Interesitng split stage in III,iii.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7826 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

Othello Fitzpatrick, Tim This table published in full in Theatre Research International article 1999. There are interesting differences in some entrance stage directions between Quarto and Folio.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7853 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

Love's Labour's Lost Fitzpatrick, Tim Table initially done by Penny Gay, revised in 1998.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7851 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

Richard II Fitzpatrick, Tim Last revised 1998

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7806 2026-05-26T02:28:02Z 2011-01-01T00:00:00Z

Julius Caesar Fitzpatrick, Tim Last revised 2002

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7843 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

The Duchess of Malfi Fitzpatrick, Tim Last revised 2002.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7805 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

Hamlet, first Quarto Fitzpatrick, Tim This analysis from 1998 is of the 'bad' first Quarto text. Spatial logic not as clear as in Q2 at some points.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7803 2026-05-26T02:28:02Z 2011-01-01T00:00:00Z

The Widow's Tears [3 doors] Fitzpatrick, Tim High incidence of congestions in 2 door analysis (see mapping for The Widow's Tears [2 doors]) led to an attempt to chart this three-door version , which is only slightly more satisfactory.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7802 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

The Tempest Fitzpatrick, Tim Table reflects 1998 analysis. 2002 revisions not incorporated as are minor only.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7804 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

Catiline Fitzpatrick, Tim Checked 2002. Very clear inwards and outwards dialogue references in first two acts.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7808 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

The Roaring Girl Fitzpatrick, Tim Easily accommodated with two doors for most scenes. Three shops in third scene interesting, they would congest even three doors. Revised 2002.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7848 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

The Devil's Charter Fitzpatrick, Tim Last revised 2002.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7815 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

A Chaste Maid in Cheapside Fitzpatrick, Tim Analysis 1999.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7809 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

A Jovial Crew Fitzpatrick, Tim Revsed 2002. Clear binary polarities in entrance and exit patterns. Even with play within play, congestions are 'spaced' by dialogue from onstage audience.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7846 2026-05-26T02:28:02Z 2011-01-01T00:00:00Z

King Henry V Fitzpatrick, Tim Last revised 1998

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7807 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

The Merchant of Venice Fitzpatrick, Tim Last revised 2002.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7810 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

Titus Andronicus Fitzpatrick, Tim Scene and act breaks do not follow 'clere' stage convention. 11 scene breaks marked include 'clere' stage instances not marked as scen-breaks.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7818 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

The Widow's Tears [2 doors] Fitzpatrick, Tim Sense of fictional space and logistical sense is vague and unsatisfactory. High incidence of congestions; this led to an attempt to chart a three-door version (see mapping for The Widow's Tears [3 doors]), which is only slightly more satisfactory.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7844 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

The Comedy of Errors Fitzpatrick, Tim Table revised 1998

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7812 2026-05-26T02:28:02Z 2011-01-01T00:00:00Z

Tamburlaine the Great part 2 Fitzpatrick, Tim Last revised 2002.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7817 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

Eastward Ho! Fitzpatrick, Tim Use of central feature in first three scenes carefully avoids requiring access to tiring house. Not used thereafter, rest of play two-door patterning. Last revised 1998.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7813 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

A Midsummer Night's Dream Fitzpatrick, Tim Revised 2002. Modern editors' scene breaks are questionable, likely characters don't exit stage at some points in the chase sequence.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7838 2026-05-26T02:28:04Z 2011-01-01T00:00:00Z

The Taming of the Shrew Fitzpatrick, Tim A number of congestions marked as minimal in belief that they would have been resolved by interludes evident in the anonymous The Taming of a Shrew. See conference paper (unpublished), 'The Two Doors Traffic of our Stage' attached to end of table, which discusses more general issues but in particular the interludes and this play.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7829 2026-05-26T02:28:03Z 2011-01-01T00:00:00Z

The Battle of Alcazar Fitzpatrick, Tim Slightly adapted from table kindly supplied by David Hertzberg (a table which formed part of his 1998 Honours thesis in the Dept of Performance Studies, Sydney University). The table includes annotations regarding the 'plot' of the play held in the Alleyn Collection at Dulwich College.

2011-01-01T00:00:00Z Fitzpatrick, Tim https://hdl.handle.net/2123/7852 2026-05-26T02:28:02Z 2011-01-01T00:00:00Z

Edward II Fitzpatrick, Tim Last revised 2002.

2011-01-01T00:00:00Z