This article offers some preliminary suggestions of where perceived boundaries usually drawn between theatre and sport may be porous and malleable, with the individual performing body serving as the source point of complex action and exchange. By means of an intertextual approach, this article therefore starts to give account of the dynamic relationships between spontaneity, subjectivity, control and conditioning that exist in both sport and theatre. Particular attention is paid to those forms of theatre and sport in which indeterminacy plays a key role. Secondary sources have been selected in which the personal performing body – acknowledged as being able to write its own script and take action through embodied play – is seen to invite risk, action and transformation. The discussion begins with a focus on Theatresports™, as an example of a purposeful converging of key characteristics from both theatre and sport. Further examples from physical theatre, wrestling and boxing highlight the complex relationship between liberation and restraint through play. This article forms the preliminary phase of a proposed extended research project with the same title: it thus aims to offer some of the key observations that have arisen so far and which invite deeper investigation.

中文翻译：

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谁的游戏？戏剧和体育中的具身游戏

本文提供了一些初步建议，指出通常在戏剧和运动之间划定的感知界限可能是多孔的和可塑的，个人表演身体是复杂动作和交流的源点。因此，通过互文方法，本文开始说明存在于体育和戏剧中的自发性、主观性、控制和条件之间的动态关系。特别关注那些不确定性起关键作用的戏剧和体育形式。已经选择了二手资料，其中个人表演机构——公认能够编写自己的剧本并通过具身游戏采取行动——被视为会带来风险、行动和转变。讨论开始于 Theatresports™，作为有目的地融合戏剧和体育关键特征的一个例子。来自体育戏剧、摔跤和拳击的更多例子突出了通过游戏解放和约束之间的复杂关系。本文构成了同名扩展研究项目的初步阶段：因此，它旨在提供迄今为止出现的一些关键观察结果，并邀请进行更深入的调查。