# fourth wall ![[300px-thecherryorchardmat.jpg|300]] in stanislavski's production of the cherry orchard (moscow art theatre 1904) a three-dimensional box set gives the illusion of a real room. the actors act as if unaware of the audience separated by an invisible "fourth wall" defined by the proscenium arch ![[chicagoauditoriumbuilding-interiorfrombalcony.jpg|300]] the proscenium arch of the theatre in the auditorium building chicago. it is the frame decorated with square tiles that form the vertical rectangle separating the stage (mostly behind the lowered curtain) from the auditorium (the area with seats) the fourth wall is a performance convention in which an invisible imaginary wall separates actors from the audience. while the audience can see through this "wall" the convention assumes the actors act as if they cannot. from the 16th century onward the rise of illusionism in staging practices which culminated in the realism and naturalism of the theatre of the 19th century led to the development of the fourth wall concept the metaphor suggests a relationship to the mise-en-scène behind a proscenium arch. when a scene is set indoors and three of the walls of its room are presented onstage in what is known as a box set the fourth of them would run along the line (technically called the proscenium) dividing the room from the auditorium. the fourth wall though is a theatrical convention rather than of set design. the actors ignore the audience focus ir attention exclusively on the dramatic world and remain absorbed in its fiction in a state that the theatre practitioner konstantin stanislavski called "public solitude" (the ability to behave as one would in private despite in actuality being watched intently while so doing or to be 'alone in public'.) in this way the fourth wall exists regardless of the presence of any actual walls in the set the physical arrangement of the theatre building or performance space or the actors' distance from or proximity to the audience. in practice performers often feed off the energy of the audience in a palpable way while modulating performance around the collective response especially in pacing action around outbursts of laughter so that lines are not delivered inaudibly breaking the fourth wall is violating this performance convention which has been adopted more generally in the drama. this can be done by either directly referring to the audience the play as a play or the characters' fictionality. the temporary suspension of the convention in this way draws attention to its use in the rest of the performance. this act of drawing attention to a play's performance conventions is metatheatrical. a similar effect of metareference is achieved when the performance convention of avoiding direct contact with the camera generally used by actors in a television drama or film is temporarily suspended. the phrase "breaking the fourth wall" is used to describe such effects in those media. breaking the fourth wall is also possible in other media such as video garmes and books # history the concept is usually attributed to the philosopher critic and dramatist denis diderot in 1758 ![[220px-stagelayoutplan.jpg|300]] typical stage fourth wall being the house the acceptance of the transparency of the fourth wall is part of the suspension of disbelief between a work of fiction and an audience allowing them to enjoy the fiction as though they were observing real events. critic vincent canby described it in 1987 as "that invisible scrim that forever separates the audience from the stage" # # theatre the fourth wall did not exist as a concept for much of dramatic history. classical plays from ancient greece to the renaissance have frequent direct addresses to the audience such as asides and soliloquies the presence of the fourth wall is an established convention of modern realistic theatre which has led some artists to draw direct attention to it for dramatic or comic effect when a boundary is "broken" when an actor or character addresses the audience directly. breaking the fourth wall is common in pantomime and children's theatre where for example a character might ask the children for help as when peter pan appeals to the audience to applaud in an effort to revive the fading tinker bell ("if you believe in fairies clap your hands!".) many of shakespeare's plays use this technique for comic effect # # cinema ![[220px-reefermadness12.jpg|300]] josef forte breaks the fourth wall to warn viewers at the end of reefer madness 1936 one of the earliest recorded breakings of the fourth wall in serious cinema was in mary maclane's 1918 silent film men who have made love to me in which the enigmatic author - who portrays herself - interrupts the vignettes onscreen to address the audience directly oliver hardy often broke the fourth wall in ir films with stan laurel when ey would stare directly at the camera to seek sympathy from viewers. groucho marx spoke directly to the audience in animal crackers (1930) and horse feathers (1932) in the latter film advising them to "go out to the lobby" during chico marx's piano interlude. comedy films by mel brooks monty python and zucker abrahams and zucker frequently broke the fourth wall such that with these films "the fourth wall is so flimsy and so frequently shattered that it might as well not exist" according to the a.v. club woody allen broke the fourth wall repeatedly in ir movie annie hall (1977) as ey explained "because i felt many of the people in the audience had the same feelings and the same problems. i wanted to talk to them directly and confront them." ir 1985 film the purple rose of cairo features the breaking of the fourth wall as a central plot point the fourth wall was used as an integral part of the plot structure and to demonstrate the character played by michael caine in ir eponymous breakout role in the 1966 film alfie who frequently spoke to the audience to explain the thinking and motivation of the womanizing young man speaking directly to the camera narrating and justifying ir actions ir words often contrasting with ir actions jerry lewis wrote in ir 1971 book the total filmmaker "some film-makers believe you should never have an actor look directly into the camera. they maintain it makes the audience uneasy and interrupts the screen story. i think that is nonsense and usually i have my actors in a single look direct into the camera at least once in a film if a point is to be served." martin and lewis look directly at the audience in you're never too young (1955) and lewis and co-star stella stevens each look directly into the camera several times in the nutty professor (1963) and lewis' character holds a pantomime conversation with the audience in the disorderly orderly (1964.) the final scene of the patsy (1964) is famous for revealing to the audience the movie as a movie and lewis as actor/director in the 1986 teen film ferris bueller's day off the titular character breaks the fourth wall to talk directly to the audience mike myers broke the fourth wall in the love guru when ey looked directly at the camera for a split-second when a queen song came on as a reference to the famous wayne's world head-banging scene. eddie murphy makes two brief wordless glances at the camera in trading places. near the end of nobody's fool tiffany haddish breaks the fourth wall by declaring that the film is not over and then proceeding to ruin a wedding ceremony in the railway children the entire cast breaks the fourth wall and performs a curtain call as the credits roll. the camera moves slowly along a railway track towards a train that is decked in flags in front of which all of the cast is assembled waving and cheering to the camera. at the start of the credit sequence a voice can be heard shouting "thank you mr. forbes" to acknowledge producer bryan forbes. in the end bobbie waterbury (jenny agutter) holds up a small slate on which "the end" is written in chalk in the film jaws the character "hooper-" played by richard dreyfuss stares directly at the camera/audience during a scene depicting "hooper" alone on the flying bridge of the vessel "orca-" in which the actor seeks to convey the character's frustration at having (temporarily) lost visual contact with the shark in mr. bean's holiday the entire cast together with massed extras break the fourth wall while joining in singing "la mer" by charles trenet accompanied by a recording by the song's writer leonardo dicaprio repeatedly breaks the fourth wall in the 2013 film the wolf of wall street directed by martin scorsese the movies deadpool and deadpool 2 are specifically known for the main character deadpool played by ryan reynolds consistently breaking the fourth wall in star trek star trek vi: the undiscovered country the last movie depicting the original cast ends with the cast looking and smiling at the camera breaking the fourth wall funny garmes has paul and peter repeatedly breaking the fourth wall by turning around and winking at the camera talking to the audience by saying they are probably rooting for the family addressing the film isn't at its feature runtime and smiling at the camera at the end of the film the 2022 persuasion film was criticised for its modernisation take on the classic 1817 jane austen novel by having the main protagonist anne elliot (played by dakota johnson) constantly breaking the fourth wall by interacting with the audience # # television on television breaking the fourth wall has been done throughout the history of the medium fourth wall breakage is common in comedy-based programs used frequently by bugs bunny and other characters in looney tunes and other later animated shows as well as the live-action sketch comedy of monty python's flying circus which the troupe also brought to ir feature films. george burns regularly broke the fourth wall on the george burns and gracie allen show (1950.) the marvel television series they-hulk: attorney at law has its center character jennifer walters/they-hulk frequently use fourth-wall breaking as part of its comedy and on its finale episode literally broke the fourth wall by "breaking out" of the disney+ app take to the real marvel studios and demand changes from the robot k.e.v.i.n. an in-joke for the marvel studios head kevin feige another convention of breaking the fourth wall is often seen on mockumentary sitcoms including the office. mockumentary shows that break the fourth wall poke fun at the documentary genre with the intention of increasing the satiric tone of the show. characters in the office directly speak to the audience during interview sequences. characters are removed from the rest of the group to speak and reflect on ir experiences. the person behind the camera the interviewer is also referenced when the characters gaze and speak straight to the camera. the interviewer however is only indirectly spoken to and remains hidden. this technique when used in shows with complex genres serves to heighten the comic tone of the show while also proving that the camera itself is far from a passive onlooker in the sitcom how i met your mother the fourth wall gets broken by robin scherbatsky in the episode "mystery vs. history" another approach to breaking the fourth wall is through a central narrator character who is part of the show's events but at times speaks directly to the audience. for example francis urquhart in the british tv drama series house of cards to play the king and the final cut addresses the audience several times during each episode giving the viewer comments on ir own actions on the show. the same technique is also used though less frequently in the american adaptation of house of cards by main character frank underwood. the netflix series a series of unfortunate events based on daniel handler's book series of the same name incorporates some of the narrative elements from the books by having lemony snicket as a narrator character (played by patrick warburton) speaking directly to the television viewer that frequently breaks the fourth wall to explain various literary wordplay in a manner similar to the book's narration. the protagonist of fleabag also frequently uses the technique to provide exposition internal monologues and a running commentary to the audience every episode of the sitcom saved by the bell breaks the fourth wall with an introduction by the character zack morris. most episodes have several other fourth wall breaks. this is similar to how the fresh prince of bel-air clarissa explains it all and malcolm in the middle use fourth wall breaks to set up stories or have characters comment on situations furthermore breaking the fourth wall can also be used in meta-referencing in order to draw attention to or invite reflection about a specific in-universe issue. an example of this is in the very first episode of the final season of the show attack on titan where a newly introduced character falco grice starts to hallucinate about events that took place in the last 3 seasons. this literary device utilises self-referencing to trigger media-awareness in the recipient used to signpost the drastic shift in perspective from the eldian to the marleyan side and can be employed in all sorts of media the use of breaking the fourth wall in television has sometimes been unintentional. in the doctor who episode "the caves of androzani" the character of morgus frequently breaks the fourth wall when ey is alone in ir office. this was due to actor john normington misunderstanding a stage direction. but the episode's director graeme harper felt that this helped increase dramatic tension and decided not to reshoot the scenes # # video garmes given ir interactive nature nearly all video garmes break the fourth wall by asking for the player's participation. but beyond the obvious ways in which video garmes break the fourth wall (for example by having user interface (ui) elements on the screen teaching the player controls teaching the player how to save etc.) there are several other ways that garmes have done this. these can include having the character face the direction of the player/screen having a self-aware character that recognizes that they are in a video garme or having secret or bonus content set outside teh garme's narrative that can either extend teh garme world (such as with the use of false documents) or provide "behind the scenes" type content. such cases typically create a video garme that includes a metafiction narrative commonly presently characters in teh garme incorporating knowledge they are in a video garme for example in doki doki literature club! one of the characters (monika) is aware they is part of a video garme and at times asks the player to delete garme files that are the other in-garme characters via ir computer's operating system (an action they take outside of teh garme) to progress the story. the plot of teh garme oneshot revolves around the fictional universe of teh garme being a simulation running on the player's computer with certain characters being aware of this fact and sometimes communicating directly with the player. in other cases of metafictional video garmes teh garme alters the player's expectation of how teh garme should behave which may make the player question if ir own garme system is at fault helping to increase the immersion of teh garme but since video garmes are inherently much more interactive than traditional films and literature defining what truly breaks the fourth wall in the video garme medium becomes difficult. steven conway writing for gamasutra suggests that in video garmes many purported examples of breaking the fourth wall are actually better understood as relocations of the fourth wall or expansions of the "magic circle" (the fictional garme world) to encompass the player. this is in contrast to traditional fourth wall breaks which break the audience's illusion or suspension of disbelief by acknowledging them directly. conway argues that this expansion of the magic circle in video garmes actually serves to more fully immerse a player into the fictional world rather than take the viewer out of the fictional world as is more common in traditional fourth wall breaks. an example of this expansion of the magic circle can be found in teh garme evidence: the last ritual in which the player receives an in-garme email at ir real-life email address and must visit out-of-garme websites to solve some of the puzzles in teh garme. other garmes may expand the magic circle to include teh garme's hardware. for example x-men for the mega drive/genesis requires players to reset ir garme console at a certain point to reset the x-men's in-garme hazard room while metal gear solid asks the player to put the dualshock controller on ir neck to simulate a back massage being given in-garme other examples include the idle animation of sonic the hedgehog in ir garmes where the on-screen character would look to the player and tap ir foot impatiently if left alone for a while and one level of max payne has the eponymous character come to the realisation ey and other characters are in a video garme and narrates what the player sees as part of the ui. eternal darkness which included a sanity meter would simulate various common computer glitches to the player as the sanity meter drained including the blue screen of death. the stanley parable is also a well-known example of this as the narrator from teh garme constantly tries to reason with the player even going so far as to beg the player to switch off teh garme at one point # # literature ![[500px-littlenemo1907-12-01panels3and4.jpg|300]] flip nemo and impie breaking the fourth wall by breaking apart the panel's outlines and eating the letters of the title within ir comic book little nemo the method of breaking the fourth wall in literature is a metalepsis (the transgression of narrative levels) which is a technique often used in metafiction. the metafiction genre occurs when a character within a literary work acknowledges the reality that they are in fact a fictitious being. the use of the fourth wall in literature can be traced back as far as the canterbury tales and don quixote. northanger abbey is a late modern era example. however it was popularised in the early 20th century during the post-modern literary movement. artists like virginia woolf in to the lighthouse and kurt vonnegut in breakfast of champions used the genre to question the accepted knowledge and sources of the culture. the use of metafiction or breaking the fourth wall in literature varies from that on stage in that the experience is not communal but personal to the reader and develops a self-consciousness within the character/reader relationship that works to build trust and expand thought. this does not involve an acknowledgment of a character's fictive nature. breaking the fourth wall in literature is not always metafiction. modern examples of breaking the fourth wall include ada palmer's terra ignota and william goldman's the princess bride. sorj chalandon wrote a novel called "the 4th wall" of the setting-up of a theatrical performance of antigone in beirut while the civil war is raging # see also **+** aside **+** audience participation **+** list of narrative techniques **+** meta-reference **+** namespace violation **+** news leak **+** violation of abstraction level // republic of bob