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The covering of the brand, thereby suggesting that for the purposes of the play and the role it does not exist, or does not yet exist, is another Gorean theatrical convention. - (Players of Gor, Chapter 6, Sentence #39)

Usually, if she is playing the role of a free woman it is simply "not seen," so to speak, being ignored by the audience, in virtue of a Gorean theatrical convention. If a great deal is being made of the freedom of the woman in the play, as is not unusual in many dramas and farces, the brand is sometimes covered, as with a small, circular adhesive patch. The removal of this patch, conjoined perhaps with a collaring, for example, may then suggest that the female has now been suitably enslaved. The covering of the brand, thereby suggesting that for the purposes of the play and the role it does not exist, or does not yet exist, is another Gorean theatrical convention. There are many such conventions. Carrying a tarn goad and moving about the stage in a certain manner suggests that one is riding a tarn; a kaiila crop, or kaiila goad, and a change of gait suggests that one is riding a kaiila; a branch on the stage can stand for a forest or a bit of a wall for a city; standing on a box or small table can suggest that the hero is viewing matters from the summit of a mountain or from battlements; some sprinkled confetti can evoke a snow storm; a walk about the stage may indicate a long journey, of thousands of pasangs; some crossed poles and a silken hanging can indicate a throne room or the tent of a general; a banner carried behind a "general" can indicate that he has a thousand men at his back; a black cloak indicates that the character is invisible, and so on. "Are you truly free?" inquired Boots Tarsk-Bit, with exaggerated incredulity, in the guise of the merchant, of his Brigella. - (Players of Gor, Chapter 6)