THE BOUNDARY BETWEEN: WHO AND HOW BREAKS THE FOURTH WALL IN THEATRE

Abstract

The convention of the fourth wall remains dominant in Western theatre. However, the boundary between actors and audience has become increasingly ambiguous. Although various methods are employed to break the imaginary fourth wall, a notable gap exists in research regarding their classification and the underlying purposes these methods serve. This article seeks to address three research questions: What is the fourth wall? What does it mean to break the fourth wall? And how are these methods used in theatre?

The first two sections of this article provide a historical overview of the concepts of “the fourth wall” and “breaking the fourth wall”. The third section shifts focus to contemporary practices, with an emphasis on 21st-century Estonian theatre. Through the analysis of different examples, the study identifies and categorizes three primary approaches to breaking the fourth wall: instances where the performer directly breaks the wall, moments of alienation that disrupt the audience’s immersion, and cases where the audience themselves breach the boundary. This classification offers a clearer understanding of how these methods function and their significance in reshaping the dynamics of modern theatrical experiences.