Entrances and Exits in English Renaissance Plays

通过对英国文艺复兴时期戏剧文本的研究，笔者得出以下结论：1.莎士比亚和他的同事们把进入和退出看作是有一定持续时间的移动，行动要开始，继续，并完成。2.通常允许演员在后台和主要表演区之间走大约四条线，即，前台。3.出口和入口的重叠可能在地球仪和类似的舞台上非常有效。伯纳德·贝克曼的假设原则是，一个侧门通常用于入口，另一个通常用于出口，这可能是西方球员的经验法则。几种特殊类型的入口和出口，可能会受益于使用的中央开放。在莎士比亚的时代，舞台作为一个整体并不总是被视为“onstage”，“enter”和“exit”/“exeunt”的含义可能与主要动作有关。

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.