第90页

Where relay
场景接龙游戏
组织者定义一个空间，确定入口和出口，布置一些椅子和cubes积木块
1进入空间，establish an imaginary object in it, and stay onstage engaging in an activity as someone who belongs... 属于这个场景
2进入空间，relate in some way to the first player's object, and estabilsh an object of his own. The first player must make contact with the second player's object before she can leave the stage.
以此类推

剧场后台

One player goes up onstage and begins to apply make-up to his face. The second player enters the space and grabs an imaginary broom and begins to sweep. The first players drops an imaginary box of face powder on the floor and borrows the broom to sweep it up.

In this game, focus on the other player is crucial.
Your task is to make contact and leave the scene. You should not get bogged down in "playwriting."

游戏者可能建立的物件和相关的活动并不清楚，别人不明白。但不靠语言，一望即知的物件和相关行为总是具有那种极大的意识形态性。一望即知，不必再望。比如非常女性化的化妆，比如非常底层化的清洁打扫。书中讲的这次游戏，第三个人希望拿进一件戏服，他把戏服从衣架拿下来，takes the costume off the hanger,由于太中性，别人就看不懂了。越是标签化的东西，越容易看懂。
所以才说任务很简单，千万不要操心“编故事”。

试问：这个游戏跟off-balance moment有什么关系呢？它的核心不是通过冒险而激发出潜在的能量，而是通过附着于意识形态而获得结构性的能量流动。他的关键是流动。流动起来就好。所以任务如此简单：to make contact and leave the scene。
试想，有多少莎士比亚和契诃夫的故事场景是以这种“游戏”精神完成的？

作者把它归为Workshops on Agreement的最高阶，即Pay-off game。债务清偿游戏？真是还债！