ABSTRACT
This chapter examines the two most potent signifiers in spatial system, the stage doors. These key interfaces between offstage and onstage, precisely because there are two of them, are the key to setting up easily identifiable binary spatial oppositions such as those which trouble Adriana. The plays of the period, seem to inscribe in the dialogue an entrance-exit system based on spatial commonsense, which works by establishing in most scenes a spatial 'triangulation' between the place represented by the stage space and a number of other unseen fictional places represented by the offstage spaces behind the two stage doors. The chapter addresses the most commonly adduced 'trees', the slender but ambiguous textual evidence or inferential speculation from particular textual cruces that scholars have focussed on to bolster the argument for a three-door configuration in the public playhouses.
