Inspired in metatheater theories…
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. (In that case the making off of The fall and Rise of Pennsylvania Station Script)
The idea of the fourth wall was made explicit by philosopher and critic Denis Diderot and spread in 19th-century theatre with the advent of theatrical realism, which extended the idea to the imaginary boundary between any fictional work and its audience.
The City of Manhattan becomes a Theater were dramatic stories succeed, but sometimes, by playing with the revealing moments of the making off and zooming out, the audience engages with the fictional-real side of the project and the context rather than being the city is the stage…
Speaking directly to or otherwise acknowledging the audience through the camera in a film or television program, or through this imaginary wall in a play, is referred to as “breaking the fourth wall” and is considered a technique of metafiction, as it penetrates the boundaries normally set up by works of fiction.
Another possible title could be Mise en Abyme
Mise en abyme also mise en abîme is a term originally from the French and means “placed into abyss”.
The commonplace usage of this phrase is describing the visual experience of standing between two mirrors, seeing an infinite reproduction of one’s image, but it has several other meanings in the realm of the creative arts and literary theory. In Western art history, “mise en abyme” is a formal technique in which an image contains a smaller copy of itself, the sequence appearing to recur infinitely.