Social Dissonance, 195–200


Conclusion: Breaking the Inner Fourth Wall


If Brecht wanted to break the fourth wall—the imaginary wall between actors and audience which keeps the latter, as observers, from realising that they are active members of the theatrical experience trying to make sense of what is going on—I am instead interested in breaking the inner fourth wall: the self-perception that we as individuals are stable selves and the belief that we are already subjects with agency. Breaking this inner fourth wall implies exposing the performance of self as a historically specific and social reifying process. But doing so also opens us up to unknowns that we may not be ready to explore.…