Breaking the Illusion and the Fourth Wall in the TV Drama An analytical study

Authors

  • Assistant professor Dr. Mustafa.A.dafak University of Baghdad College of Mass Communication

DOI:

https://doi.org/10.31185/lark.Vol4.Iss47.2486

Abstract

The long history of actors communicating directly with their audience goes back to the ancient Greek stands and *The Globe in London in the 17th century. William Shakespeare often used soliloquy, and sideshows to create tension between onstage, and the audience as a means of deepening the theatrical experience. Until the middle of the 18th century AD. The dramatists did not envision a specific language to describe the invisible line separating the actors and the audience. In the centuries that followed, the concept of the "fourth wall" was a boon to playwrights looking to break the old rules. Film and television followed suit and adopted this ability to communicate directly with the viewer.                                                                             

The fourth wall is an imaginary wall that separates the story from the real world. The term comes from the theater, where the three walls surrounding the stage surround the stage while the invisible "fourth wall" is left for the viewer. The fourth wall is the screen we watch. We treat this wall as a one-way mirror. The audience can see and understand the story, but the story cannot understand the audience's existence.                            

For decades, films in the cinema and television business using the same graphic language have worked to improve (the illusion) of depth and movement throughout space. On the two-dimensional screen, and the lighting works on the illusion of a third dimension, the carefully designed characters begin to project hopes, dreams, and desires on us to unite with them and become our hopes, dreams, and desires.  

References

LAURA U. MARK. (2000). The skin of the film intercultural cinema embodiment and the senses. durham: duke uneversity.

Sandra Sciberras. (12 march, 2014). تم الاسترداد من https://theconversation.com/you-talking-to-me-house-of-cards-and-breaking-the-fourth-wall-23919.

احمد، عبد الرضا ايهاب. ( 2009). خصائص الشكل في منحوتات مرتضى حداد. مجلة الأكاديمي،، العدد 50.

بريخت، برتولد. (1973). نظرية المسرح الملحمي. (، ترجمة : د. جميل نصيف التكريتي، المترجمون) بغداد: وزارة الاعلام.

جوزيف .م.بوجز. (2005). فن الفرجة. (وداد عبد الله، المترجمون) القاهرة: الهيئة المصرية العامة للكتاب.

حمادة، ابراهيم. (1994). معجم المصطلحات الدرامية والمسرحية. ejypt: دار الانجلو المصرية.

علي،عواد. (1997). غواية المتخيل المسرحي مقاربات لشعرية النص والعرض والنقد. المغرب ، الدار البيضاء: المركز الثقافي العربي.

عمروعدوي. (17 9, 2021). اضاءات. تم الاسترداد من https://www.ida2at.com/demolition-fourth-wall-art-public-speaking/

ماري الياس ،حنان قصاب حسين. (1997). المعجم المسرحي. بيروت: مكتبة لبنان ناشرون.

محمود عباس عبد الواحد. (1996). ، قراءة النص وجماليات التلقي. ejypt: دار الفكر العربي.

موريس مرلو –بونتي. (2008). ،المرئي واللامرئي . (د.عبدالعزيز العيادي، المترجمون) بيروت: المنظمة العربية للترجمة.

نجاتي محمد عثمان. (1961). الادراك الحسي عند ابن سينا. القاهرة: دار المعارف.

- Ahmed, Abdel Reda Ehab. (2009). Characteristics of the figure in the sculptures of Morteza Haddad. Al-Akamey Magazine, Issue 50. Baghdad/College of Fine Arts

- Brecht, Berthold. (1973). Theory of epic theater. (Translation by: Dr. Jamil Nassif Al-Tikriti, translators) Baghdad: Ministry of Information.

- Joseph M. Boggs. (2005). The art of watching. (Wedad Abdullah, translators) Cairo: The Egyptian General Book Organization.

- Hamada, Ibrahim. (1994). A dictionary of dramatic and theatrical terms. ejypt: Anglo-Egyptian House.

- Ali, Awwad. (1997). Theatrical imaginary seduction: Approaches to poetic text, presentation and criticism. Morocco, Casablanca: Arab Cultural Center.

- Omar and Adawi. (17 9, 2021). Illuminations. Retrieved from https://www.ida2at.com/demolition-fourth-wall-art-public-speaking/

- Mary Elias, Hanan Kassab Hussein. (1997). Theatrical dictionary. Beirut: Library of Lebanon Publishers.

- Mahmoud Abbas Abdel Wahed. (1996), Text reading and the aesthetics of receiving. ejypt: Arab Thought House.

- Maurice Merlow-Ponty. (2008). , the visible and the invisible. (Dr. Abdulaziz Al-Ayadi, translators) Beirut: The Arab Organization for Translation.

- Najati Muhammad Othman. (1961). Sensory perception when Ibn Sina. Cairo: House of Knowledge.

Downloads

Published

2022-09-30

Issue

Section

Media

How to Cite

Mustafa.A.dafak , A. professor D. . (2022). Breaking the Illusion and the Fourth Wall in the TV Drama An analytical study. Lark, 14(5), 747-728. https://doi.org/10.31185/lark.Vol4.Iss47.2486