ABSTRACT
This chapter examines three examples, before proceeding to analyse two instances of spatial meaning-making that depend on standard patterns for female characters. The instances drawn on in the chapter resonate with the reflections of Marvin Carlson on 'ghosting' in theatrical performance. The spatial system which has been the subject of this book depends to a significant degree on audience 'amnesia': the rapid changes of location from one scene to the next depend on the audience being able to 'wipe and reset' the spatial connotations of the stage and its doors as a new location for the action is established at the start of a scene. As a counterweight to this 'throw-away' sense of space it is possible that such a system, precisely because it depends on multiple 'meanings' being generated in succession for one or other of the stage doors, has the potential then to be exploited by creation of diachronic spatial patterns of contrast between such meanings.
