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Breaking the Fourth Wall: Difference between revisions
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{{quote|'''[[Teenage Mutant Ninja Turtles 1987|80s Raphael:]]''' ''(to the camera)'' Some people just can't handle [[Karmic Transformation|change]].
'''Hun''': ''(follows his gaze) [[Lampshade Hanging|Why do you keep doing that?]] ''[[Audience? What Audience?|Who are you talking to?!]] '''[[This Is Reality|There's no one there!]]'''|''[[Turtles Forever]]''}}
Hey! How're you doing out there? It sure is nice to be the Breaking The Fourth Wall page on [[TV Tropes]]. Sure, I don't get as much attention as some of the other pages, but I try my hardest.
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Can be expressed using [[Medium Awareness]]. When done literally, it's [[Camera Abuse]]. See also: [[Narrator]] (this trope is their job), [[Post Modernism]] (loves this trope), [[Aside Glance]] and [[Aside Comment]] (particular kinds of this), [[Animated Actors]] (an animation-specific subtrope), and [[Who Would Want to Watch Us?]] (characters lampooning the premise). [[He Knows About Timed Hits]] often involves breaking a videogame's fourth wall through necessity. For a detailed discussion of the line between this and [[No Fourth Wall]], see [[Sliding Scale of Fourth Wall Hardness]]. If the creator of a work, the audience, or you, personally, interact with characters in a way that isn't [[Audience Participation]], it may well be [[From Beyond the Fourth Wall]].
Often used for [[Lampshade Hanging]]. But if a character lampshades without addressing or acknowledging the audience, it's ''just'' [[Lampshade Hanging]]. Similarly the fourth wall can be broken with no lampshades in sight.
If somebody is not in the break and doesn't understand who the ones breaking the wall are talking to, see [[Audience? What Audience?]].
[[Leaning on the Fourth Wall]] is related.
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== Opera ==
* In Sergei Prokofiev's ''Love For Three Oranges'' the action is frequently interrupted by a [[Greek Chorus]] (or rather, four or five separate Greek Choruses) of opera fans and stagehands. This on its own doesn't ''quite'' break the fourth wall. But when the stagehands decide to intervene in the plot by kidnapping the main villain, you've got to feel like some kind of line has been crossed. Relatively rare in that the fourth wall is broken from the OUTSIDE: rather than one of the characters in the play turning to address the audience, characters from the "audience" reach in and start mucking about in the play.
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