https://hdl.handle.net/2123/7136 2026-06-04T17:51:14Z https://hdl.handle.net/2123/7841 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 https://hdl.handle.net/2123/7842 Coriolanus Fitzpatrick, Tim Last revised 1998 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7840 All's Well that Ends Well Fitzpatrick, Tim High incidence of marked congestions to delineate changes of lcation. 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7849 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 https://hdl.handle.net/2123/7847 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 https://hdl.handle.net/2123/7845 A Maidenhead Well Lost Fitzpatrick, Tim Last revised 2002. 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7850 The Revenger's Tragedy Fitzpatrick, Tim Revised 1998. Note interesting repeat exit patterns for Hippolito. 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7816 The Cardinal Fitzpatrick, Tim Features some clear instances of simultaneous mid-scene entrances and exits. 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7811 Antony and Cleopatra Fitzpatrick, Tim Analysis done 1998 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7830 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 https://hdl.handle.net/2123/7833 As You Like It Fitzpatrick, Tim Last revised 2002 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7834 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 https://hdl.handle.net/2123/7836 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 https://hdl.handle.net/2123/7831 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 https://hdl.handle.net/2123/7835 Henry VI part 2 Fitzpatrick, Tim Checked 2002. 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7832 Cymbeline Fitzpatrick, Tim Quite high count of congestions between scenes, but most of them minimal or minimised. 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7837 Measure for Measure Fitzpatrick, Tim Last revised 2002 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7814 Hamlet Fitzpatrick, Tim Analysis done 1998. This reflects the ('good') second Quarto and Folio texts. 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7828 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 https://hdl.handle.net/2123/7824 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 https://hdl.handle.net/2123/7827 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 https://hdl.handle.net/2123/7821 Twelfth Night Fitzpatrick, Tim Table initially done by Penny Gay, revised in 1998 and 2002 (overtaking scene) 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7823 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 https://hdl.handle.net/2123/7825 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 https://hdl.handle.net/2123/7822 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 https://hdl.handle.net/2123/7820 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 https://hdl.handle.net/2123/7826 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 https://hdl.handle.net/2123/7853 Love's Labour's Lost Fitzpatrick, Tim Table initially done by Penny Gay, revised in 1998. 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7851 Richard II Fitzpatrick, Tim Last revised 1998 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7806 Julius Caesar Fitzpatrick, Tim Last revised 2002 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7843 The Duchess of Malfi Fitzpatrick, Tim Last revised 2002. 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7805 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 https://hdl.handle.net/2123/7803 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 https://hdl.handle.net/2123/7802 The Tempest Fitzpatrick, Tim Table reflects 1998 analysis. 2002 revisions not incorporated as are minor only. 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7804 Catiline Fitzpatrick, Tim Checked 2002. Very clear inwards and outwards dialogue references in first two acts. 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7808 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 https://hdl.handle.net/2123/7848 The Devil's Charter Fitzpatrick, Tim Last revised 2002. 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7815 A Chaste Maid in Cheapside Fitzpatrick, Tim Analysis 1999. 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7809 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 https://hdl.handle.net/2123/7846 King Henry V Fitzpatrick, Tim Last revised 1998 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7807 The Merchant of Venice Fitzpatrick, Tim Last revised 2002. 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7810 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 https://hdl.handle.net/2123/7818 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 https://hdl.handle.net/2123/7844 The Comedy of Errors Fitzpatrick, Tim Table revised 1998 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7812 Tamburlaine the Great part 2 Fitzpatrick, Tim Last revised 2002. 2011-01-01T00:00:00Z https://hdl.handle.net/2123/7817 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 https://hdl.handle.net/2123/7813 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 https://hdl.handle.net/2123/7838 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 https://hdl.handle.net/2123/7829 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 https://hdl.handle.net/2123/7852 Edward II Fitzpatrick, Tim Last revised 2002. 2011-01-01T00:00:00Z