that the back stage is where "the performer can relax; he can drop his front, forgo speaking in his lines, and step out of character." When the individual returns to the back stage, they feel a sense of relief knowing the actions that would not be condoned in the front stage are free to be expressed. In the backstage, actions are not to please anyone but the self. Back stage is where performers are present but audience is not, hence the performers can step out of character without fear of disrupting the performance. It is where various kinds of informal actions, or facts suppressed in the front stage, may appear. Simply put, the back stage is completely separate from the front stage, and it is where the performance of a routine is prepared. No members of the audience may appear in the back, and the actor takes many methods to ensure this. Back region is a relative term, in that it exists only in regards to a specific audience: where two or more people are present, there will almost never be a true 'back region'. Off-stage Outside, or off-stage, is the place where individuals who are outsiders are not involved in the performance (although they may not be aware of it). The off-stage is where individual actors meet the audience members independently of the team performance on the front stage. Specific performances may be given when the audience is segmented as such. Borders/regions Borders, or boundaries, are important as they prevent or restrict movement of individuals between various regions. Performers need to be able to maneuver boundaries to manage who has the access to the performance, when and how. The border phenomenon is highlighted by Victor Turner's concept of liminality, and thus prolonged in the imaginable field: semiotics of ritual. The management of thresholds may be operated on several axes; the most crude is exclusion-inclusion, similar to the basic digital on-off (1 – 0). To be a part or not may be seen as the fundamental asset in a society, but as far society is perceived as a rhizomatic conglomerate, rather such than a unitary or arborescent whole. Border-control, so to speak, becomes in a paradoxical fashion the central issue. Thus the study of liminality in sociology, ritual and theatre reveals the fictional elements underpinning society. Rites of passage seem to reflect this as the enactments of exclusion, and dissociation