Tiring-house

Tir´ing-house`


n.1.A tiring-room.
References in periodicals archive ?
But this is problematic in assuming a 'discovery space' at the centre of the tiring-house wall, for which there is little hard evidence; certainly the term is never used in an early modern stage direction.
In this discussion, the structure of the Hope stage, in particular the number of openings in the tiring-house wall at the rear of the stage, becomes of critical importance.
to a "middle door" leading to Touchstone's goldsmith's shop, which turns out after further examination not to be a door at all, but merely a "stall" that could easily be accommodated by the curtained concealment space identified earlier in this book or by the presence of an angled tiring-house wall.
Outside Midsummer's Athens, for example, Quince announces that "This green plot shall be our stage, this hawthorn brake our tiring-house" (3.1.3-4).
A structure stage right provided a balcony for Juliet with a curtained discovery space below and a wide staircase connecting these two levels in a kind of miniature "tiring-house" arrangement.
(28) Alan Dessen and Leslie Thomson believe that the stage directions "imply" not the curtains of a bed but rather curtains hanging on the wall of the tiring-house. (29) Possibly the doors opening onto the stage were opened 180 degrees so that they were flush with the tiring-house wall, and then the opening was covered with a curtain.
A Lords Room in the stage balcony could scarcely be said to be in a corner, but a box at the extreme end of the gallery, abutting the tiring-house side and facing the stage at an oblique angle, certainly is.
At the rear of the stage was a tiring-house, whose facade had entrance doors on to the stage; there was a balcony above the stage, and a trapdoor to the space below.
This visual diffraction was emphasized by the plasma screen that played stills of characters, and sometimes repeats of scenes, and the movable set at the back of the stage standing for the tiring-house wall with its different levels.
The most direct allusion to The Knight of the Burning Pestle in The Antipodes occurs in Peregrine's deluded-knight-errant tiring-house attack as related in Byplay's exuberant account.
(9) Interestingly for a playwright whose plays rely so heavily on emblematic moments, he never used the term "dumb show." And while none of the stage directions we can safely attribute to Marlowe requires the stage trap, he often made repeated use of the tiring-house wall and its openings.
The tomb to which the stage directions refer several times would, logically, have been represented by the tiring-house, receding from the facade at the back of the large platform stage.