第四堵墙“第四堵墙”,原指剧场中将舞台同观众隔开的台框部分,后发展为写实主义舞台的一种理论和常见手法。十九世纪末期的欧洲写实主义,尤其是自然主义剧作家和导演,对舞台空间中这堵视而不见的“第四堵墙”十分重视,因为这堵墙在观众的想象中是实际存在的,戏剧行动对观众来说是封闭的。这样,演员们可以在这堵墙内自然地表演,而观众则仿佛是在墙外“偷听”、“窥视”一个真实的生活场景。“第四堵墙”理论的主要代表者和实践人是法国巴黎“自由剧院”的创始人安德烈·安图昂(1858— The fourth wall “The fourth wall,” originally referred to the theater stage will be separated from the audience with the stage frame part of the stage after the development of the realism of a theory and common practices. The late 19th century European realism, especially the naturalist writers and directors, placed great emphasis on this obscured “fourth wall” in the stage space, as the wall actually existed in the audience’s imagination. Drama The action is closed to the audience. In this way, the actors can perform naturally in this wall, while the audience seems to “eavesdrop” on the wall and “peep” a real life scene. The main representative and practitioner of the “Fourth Wall” theory is Andrey Antioch, founder of the “Free Theater” in Paris, France (1858-