sé iM THE FOURTH WALI 1 nasreant a dees retical years apn whe L was a very dmg autres une which te entire sadence ave sonal lied ony Bh atthe seme of privacy of my wae White playing st pretend that na one tes at theresa the that no se alt ence bead tae sunt ws eve, Every tine Leute to ok up it became ‘wore imposible. nut Eben to bide pysiclly. nds ected ny pial ie more ane tthe ek val te set. The divertor, sicing im the auaitrinte,soppe the hears wich ve promoneent, "Pent keen fe oe ‘vane the ten ral level Can see Ue aia layed seat oro a of eaye, totally ho toca vivacy sd veatty. I we bal at aising oxsetves ot tthe atic ant ahing mr eyes available ta each menubar of the sneoene ‘we ought to alk just a8 mach at hiding OF ene, ete lvceto's espensibiiey to ensane tae all pertinent tina 2 soma, ad he forts of aetna aeons teased che eomtoleiy the dive, baw what ca oe ‘lyfe yous widh that Big, ping leo dete le ‘~ eee eSea ‘ppd te the Hout wal ye set? You eat com ‘cw your imagination 29 pat of yon om aww tat is eaier i da ns Whew the play dices that ube audience avea must be ted foe a primary pane it hevontes relatively ple to ‘ae real. For example, in an outdoor ene, it you ate asked fo efer a tree or illo lie on steeple ot clan place ‘unapuatively out from, and it you have pantieuatsed tad auctioned i visally w at exit sigh on daue oF pil ese sy to Tonk talk slut pn to, Occasomaly, an erie production is evized to break {Hough the prowcnium ant to make use of ahe auence ae Jina prinry way le Ya Kazau's production of Calon Tee Ti How as the vutain ras, Magic was tang lacing ds Slience and arranging her Iie in an inaginory meron ‘his eof the lout wall was eae a ones a the ‘itried out by the other actos with diferent objets net ‘ctvties throu he ese of te pay ne the fit things you wll discover abun a fang Ine vit object is that you eansotsumpend i in uid yw. Gomis the windowtanevialy afew feet seep $m you rt yom atk i, then Hee ita ty to Bad ie ‘sin Ic ail contiualy elle yon, and yar eyes nay even ‘toss it your attempt to bring i ino toa suclowty some wher Whatever abject you wish to se unt he anchored lo sonnet which yow ean sce i really there. ‘att with, ower now the weet elt hat yom eat ele yu eyes ade it. Don't ty to vecomstrgee it aC the miooon ot pling iin the arian Actors challenge me that they can’ se anything ot frome {8 hich toauelionsanething bec it st dank Unles ‘willane yptight is lacmeldiecty ont jut Da yo to the austin, dhs is untae, We se the yutlnes of aea THE OBJECT EXERCISES everything from the people to baleen to anes and exits wo the loyes 2 the side and the partitions atthe hack, ete, et, while the tage igs are onal the house lights are of ‘Acots alo challenge ate with dvzance, once they think they have learned to complete outs all by extending the oom ar landscape into the auditorium, sid have placed Togieal ebjecs out there, and placed them i conjunction with what is realy out there: Rove nea ot Tar the imagined bjects ate supposed to be, aul how this cones with the actual distances inthe satin, vas catatic when I discovered that 1 could bring any ‘hing as near as I wanted or see ita mile away simply by shifting my body accurately. Try i, Look into a itor 10 eck your appearance when you ate oly one foot from it, and olberve the adjustment of your body to this tsk. Tet tothe same thing afer you have stepped back sc feet. Nowe ‘heck yoursll when you took into the mirror from the oppo Site sde of the tom. Final, see if you ean reereate all three adjustments by eliminating the mreor and substtoting 4 Simple door frame. You will be antated that you nat only believe you see youse, hut that you can bring the mieror lowe or place it far aay without ever moving ron the spot Simply by finding the fovus an! recreating te bodily adjust Te sure to place your imayinary objets at the back oF sides ofthe autorun or inthe aes 50 that people, stil oF ‘wowing, won't disturb your belie You may already have applied this technique suecestlly twa particular play oF production I ot you wil be able t0 conquer it n'a matter of hours. However, if the entire production is or conceived to use the fourth wall for a Primary purpose, beware of doing all by yoursll, I yo fare the only actor on stage openly seating to imagined locks, mitrrs, pictures, windows, you wil seem most pec et ‘The Fourth Watt liar, The audience will ohably look behind them to see what you are looking And sow we face the problem which most often presents ftsell=how to exploit fully dhe fourds wall in a secondary ‘way, when we want visual attention to be fre vo go up and fut even though primary inner attention remains eonnected ‘with the objets om stage, when we don't want to do anything, to the fourth wal, when we demand of i only tha tbe ete for as. We don't want to be walled it closed of, but liber se by eet ope up pty without os petcy always setup my secondary fost wall exact tie way 1 wow iT were to me it for 8 primary ppt, 1 finish the room, 50 U0 speak, by placing imaginary objects that are familiar to me, that have logic aad ave consistent to the place fom that fourth wall of my ether thee wall, except that the “objects are secondary i insportance. {imaginatively pee at Teast ve or st objects aros the back sd sides of the aud torium, anchoring them to actual objects which exist there. What's in between them scems to take care of itself. Bly ‘objects must beso particular that Ket take diem fom 2) tina's eye ana place dhe where I eoose. (Don ty 1 wae ext sign int x pictre, ht hag your pete om the exit Sigal) Xdon't need eo tell anyone what Va wing. My objects axe only there for me, for my privacy, for my freedom from Audience inteusion, ach actor will build his own private fourth wall, since the objects will have no other conseuence that on your ability to open up. They are secondary to everything elie on Hage. Disance or physical relationship to them is of wo com fequence, since you are making no demands on thein. For example, while doing something on stage your eye may con {Get the curtane atthe window on your Kourth wall you,£6 THE OMJLET EXERCISES show examine chem wo se if theyee hanging staighe of ‘ced too she cleaners hey inant heen pry snd ats inuscarate diverge frooy your enti pup oh age. 1, while talking or Estening, our eye touche at a Aout clock i's tne tH yous eomact the chek bra at te ie i dhe check nately beevaes primary ad Helets your pute ov onler to espetinneat with dis technique £ wo fk Yon to take a eleptvne call he hae prentine of ye eo inate exercise. Wotel yuu for few ays every te oat are at le at jour plone Uo Soe where your ote, secomary These eile Hour ae attention acest he jen totally aoa creat the pune eall, When yo hee sete on che plane call you wl nse foe the exer, be ‘ertin it hs AIL the anpett of the thee enetehes. tine place cicustances, objec: aat objectives ere tat your ‘iin of staan sting atthe lekplone allows the ‘al atenton vo jo up at, (HT yn ae Ig yon bly got the ft, jon ate at yr desk. yt way hese pt aa pues avai, be ‘ic plone edema tat yo make ae sexta et yn are ek oonng ontheftaer ok ts eoe ‘till ot iinpe rise he Conversation wher you win oral wil wot woe ty at al. Yow dt fe write out ae shoes HE jn Loe {cacy hn gon ane spe aid wha sow to yon wan if yo ow the cnet sf what i hell a STI STE ym (not the outer word) and f you rests tat Has tet ies the words will take on thie own inevitability Alter you become aware ofthe object which your eyer wos often Tan on while you are teleplioming, sar to dete. tine how you eam act wp the sine fourth wall in your suo fr workshup. When yout Bally setup he exetcie for pre. sentation ake as much time to establish your fourth wall as you would place ye Huei a perv objects fn the tecreation of your place. Don't dictate a what pois yr will ook up to make use a dhe fort wal, Let the steno, up whet it wants to and 0 what ie wants to, Above all, thn check if you tally se the objects when you look ups ‘ha immediately means you ae vig them pair Hann tance: When the exereise secs, the wall wil ply be there toe you in plave of the audience. (Hla director com Plains, and suddenly asks what you are looking at out front You are undated esng fourth objects incorecly primary objects ater tham secondarily) ‘You may repeat the exercie thee or four tines with variations of events an hinds of phone calls Before ite totally sueceful Phew t works, woone will have to tell you 6, because yo wil fel 38 free asa hid, an velieved wf the ‘od agonizing burden of auclience intrusion to the pitt where ye wil aways wane to ul Rn wall every exercise, in every seme which you Wonk, aid for every play which yu wilh ver appen!