One of the benefits of expanding a sociology of theatre to include inanimate objects (via Bruno Latour) is that such a maneuver might also open up medieval performance to sociological observation. Pre-modern histories have been somewhat resistant to sociological analysis, perhaps because consideration of class and critiques of industrial and global capitalism have been central to the discipline. This is not to imply that relationships between objects and humans have been exhausted of the fetishized object of late capitalism. It is only to say that additional layers and networks of actors--some of which function within ritual structures within feudal societies--may expand beyond systems of economic exchange.