My Project will challenge and confront some of the creative opportunities inherit by braking the 4th wall and opening of the third space, the space of production, the space of illusion.
The fourth wall is the imaginary “wall” at the front of the stage in a traditional three-walled box set in a proscenium theatre through which the audience sees the action in the world of the play; it’s basically the imaginary boundary between any fictional work and its audience.
By altering and breaking the fourth wall, I will set up different degrees of transparency of the wall, changing it’s opacity or completely breaking the imaginary line which compete separates the audience and the fictional world, and the line will start to blur, overlap and finally hybridize.
“Breaking the fourth wall” is considered a technique of metafiction, as it penetrates the boundaries normally set up by works of fiction. By breaking the wall we will discover what was walling in or walling out, what was hidden, prohibited, we will be able to see trough all the different layers which made the fiction came true.
By doing this experiment we will experience what this revealing process give us as an audience. The progress of realism in staging has meant that the participation of audiences has been increasingly controlled and excluded in the service of an illusion of reality. In some ways, the concept of theatrical realism has had its ultimate fulfilment in the motion picture.
The acceptance of the transparency of the fourth wall is part of the suspension of disbelief between a fictional work and an audience, allowing them to enjoy the fiction as if they were observing real events. Although the critic Vincent Canby described it in 1987 as “that invisible screen that forever separates the audience from the stage,” postmodern art forms frequently either do away with it entirely, or make use of various framing devices to manipulate it in order to emphasize or de-emphasize certain aspects of the production, according to the artistic desires of the work’s creator.