tiring house

The audience was brought through the tiring house to see the actors preparing.

The theater's permanent stage and tiring house (the backstage area where actors attire themselves) are still under construction.

The play goes somewhat awry when Peregrine wanders into the players' "tiring house" and finds their properties.

The doors entered into the "tiring house" (backstage area) where the actors dressed and awaited their entrances.

There was a tiring house for the players, and galleries and luxury seats providing better viewing and privacy.

Rich nobles could watch the play from the Lords' Rooms above the Tiring House at the back of the stage.

Any props needed were readied in the tiring house by the bookkeeper (we'd call him the stage manager) and carried on and off by actors.

I have only the tiniest cavil: Mr. Ross uses the term "tiring house" without defining it as the actors' dressing room.

In Shakespeare's day, the actors waited in a tiring house, probably because actors were attired (put on or changed costumes) in this space.

One moment, I was prowling the cramped recesses of the tiring house of the Azure Swan Theater.

Entrances and exits were made through two or three doors at the rear of the platform, into the "tiring house" where costumes were changed and speeches rehearsed.

A two-storey facade at the rear of the stage hid the tiring house and, through windows near the top of the facade, opportunities for balcony scenes such as the one in Romeo and Juliet.

As the term was used in English Renaissance theatre, the "plot" of a play was a chart that summarized its action; it was posted in the "tiring house" or backstage area of a theatre.

Mary lived in a small flat in London above a tailor's shop that her father owned, and her mother helped make clothes and some costumes, because Mary's dad also helped at the tiring house in the Globe theatre.

There was a stage door in the back of the tiring house, but none of the audience had come in that way, nor was it visible from any of their vantage points, so none of them thought to use it.

The Red Bull was most likely similar to the other outdoor theatres against which it competed, with an uncurtained thrust-forward stage backed by a tiring house and balcony, surrounded by standing room, and overlooked by galleries on three walls.

As Leggatt states, "the stage - essentially the same stage - was moved to the west wall so that actors could enter directly on to it from the tiring house, a roof was built over the stage, and the galleries were considerably expanded and roofed with tiles."

He would probably hang around the piazza, occasionally darting in and out of the tiring house to talk to the actors, peeking through the grilles in the onstage doors to watch the audience response, listening to how the jokes and verse go down, then nip back outside to chat and drink with the stage crew.