Tiring-house

Tir´ing-house`


n.1.A tiring-room.
References in periodicals archive ?
With the exception of Tim Fitzpatrick who still argues against the existence of a central opening in the tiring-house facade (39-53), it is generally accepted that the stages of most professional playhouses had two main entrance doors and a large opening between them for "discoveries".
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.
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.
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.
Tim Fitzpatrick, however, takes the view that there were only two doors in the tiring-house facade, either of which could serve for "discoveries", and no opening in the centre but instead a "concealment space", created by a curtain hung on a rod in front of the angled tiring-house wall (Fitzpatrick and Millyard 8-9; Fitzpatrick, "Playwrights with Foresight" 88-91; Fitzpatrick with Johnston 2-6; Fitzpatrick, Playwright, Space and Place 34-43).
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.
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.
Nelson's examination of `Hall Screens and Elizabethan Playhouses: Counter-Evidence from Cambridge' persuasively demolishes the long-standing theory that hall-screens served as functional and/or aesthetic models for the tiring-house facade of Elizabethan playhouses: Nelson's evidence conclusively demonstrates that plays were performed at the upper end of halls rather than in front of the screen.
John Ronayne suggested that triumphal arches of the kind built in 1603 for James I's ceremonial entry to London are 'convincing analogues' for the design of the typical open-air amphitheatre tiring-house wall, and Siobhan Keenan and Peter Davidson saw the Jonson frontispiece as a 'monument to theatre' fusing classical and contemporary theatrical design.
The F1 stage direction "Maluolio within" is usually thought to indicate that Malvolio is "entirely out of sight and speaking from the tiring-house, possibly from behind one of the stage doors," but such a staging, Astington believes, would involve practical problems of the following kind: