Entrances and Exits in English Renaissance Plays
Grant-in-Aid for Scientific Research (C)
|Allocation Type||Single-year Grants|
|Research Institution||Tohoku University(1999)|
ICHIKAWA Mariko Faculty of Languages & Cultures, Tohoku University, Associate Professor, 言語文化部, 助教授 (80142785)
|Project Period (FY)
1998 – 1999
Completed(Fiscal Year 1999)
|Budget Amount *help
¥3,300,000 (Direct Cost : ¥3,300,000)
Fiscal Year 1999 : ¥1,500,000 (Direct Cost : ¥1,500,000)
Fiscal Year 1998 : ¥1,800,000 (Direct Cost : ¥1,800,000)
|Keywords||stage / stage direction / entrance / exit / text|
As a result of examining English Renaissance play texts, I have reached the following conclusions :
1. Shakespeare and his colleagues treated entrances and exits as moves which had a certain duration - i.e., moves to be begun, continued, and completed.
2. About four lines were usually allowed for actors to walk the distance between the tiring-house and the main acting area, i.e., front-stage.
3. The overlapping of an exit and an entrance could have been very effective on the Globe's and similar stages.
4. Bernard Beckerman's hypothetical principle that one flanking door was normally used for entrances and the other was regularly used for exits might have been used as a rule of thumb by Shakespearean players.
5. Several special kinds of entrances and exits that might have benefited from the use of the central opening.
6. In Shakespeare's time the stage as a whole was not always treated as 'onstage', and the meanings of 'enter' and 'exit'/'exeunt' could be relative to the main action.
Research Output (15results)