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Too, it might be noted that many dramatic masks have megaphonic devices built into them which tend to amplify the actors' voices. If women are generally precluded from participation in the major dramatic forms, they are, however, more than adequately represented in the great variety of minor forms which exist on Gor, such as low comedy, burlesque, mime, farce and story dance. To be sure, these women are usually slaves. Free women, on the whole, affect to find the professional stage, particularly in its manifestations in the minor forms, unspeakably disgusting and indecent; they feign horror at the very thought of themselves going on the stage; would it not be horrifying to be so scandalously exhibited; it would be much the same thing, surely, as being displayed publicly on a slave platform or a slave block. They usually attend performances incognito. I have mentioned that masks are commonly worn in serious drama and sophisticated comedy, such as it is; I might also mention that they are not worn in most of the minor forms, such as mime or story dance, unless called for by the plot, as in the case of brigands, and so on; farce, on the other hand, represents an interesting case for in it some characters commonly wear masks and others do not; the Comic Father, the Pedant, usually depicting a member of the Scribes, and the Timid Captain, for example, are usually masked, whereas the young lovers, the Golden Courtesan, the Desirable Heiress, and others, are not. Some roles, those of saucy free maids, comic servants, and such, may or may not be masked, depending on the troupe. - (Players of Gor, Chapter )