Natasha Korda
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If the shoe fits, or the truth in pinking
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This chapter investigates what a single, unpaired shoe uncovered by the Museum of London’s archaeological excavation of the Rose theatre might tell us about Thomas Dekker’s The Shoemaker’s Holiday, and about treading the boards of the early modern stage. Through a re-examination of stage-directions, playtexts and documents of theatre history from a variety of theoretical vantages, the chapter seeks to reanimate the shoe not as a static historical artefact paired with or fit to its proper historical context, but rather as a thing that reorients theatregoers towards their everyday contact with the world from the ground up.

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