Tim Fitzpatrick

TL;DR: In this article, it is argued that Shakespeare intended his plays to be performed using only two doors for entrances and exits, but there is evidence that it was not based on the arbitrary, mechanical rule-of-thumb previously suggested.

TL;DR: In a recent article in Theatre Notebook, Mariko Ichikawa made a valuable contribution to an understanding of how the resources of the early-modern English stage might have been deployed and managed in performance, and in particular how the two stage doors were used for fictional doors to houses and rooms as mentioned in this paper.

TL;DR: In this article, the authors examine the ramifications of the hypothesis that encoded in the dialogue of Elizabethan and Jacobean theatre texts are precise indications for the actors as to then-entrance and exit points, and that such indications constitute a stage management system, a dramaturgical system and a system of spatial semiotics which might invest these movement patterns with thematic or semiotic significance.

TL;DR: According to David Hirst, one of the dangers which actors face when performing Dario Fo's Accidental Death of an Anarchist in translation is that of 'judging the performance solely by the number of laughs it obtains and thus allowing the farcical features to run away with the play rather than using them to score political points' as discussed by the authors.