Cornely's set is fairly prop-free
, except for an elegant, late-appearing bedchamber.
They make the fascinating point that the rise of "prop-free
Shakespeare" occurred in good part from a discomfort in the eighteenth century with the concatenation of "the theatrical and the economic" (9), which segued perfectly into the nineteenth century "anxiety about a world in which the machine more than its operator has become the motor of production" (11).
Let's say a woman's chub is not properly stuffed, a worst-case scenario in which her head has defaulted to its status as a prop-free
object in the American landscape.