In traditional theater, the concept of the fourth wall serves as an invisible yet vital element that creates a clear distinction between the world of the actors and the realm of the audience. This imaginary barrier facilitates the creation of a self-contained fictional space. Actors behave as if the audience is not present. The audience, in turn, becomes a curious observer, watching the lives of the characters unfold on stage. This separation is fundamental to the traditional theatrical experience and shapes audience expectations and overall performance experience.

However, the theatrical landscape is evolving with the emergence of gaming theater. This innovative genre transcends the limitations of the fourth wall and fosters active engagement between performers and audience members. Gaming theater productions incorporate elements of games and interactive experiences. In essence, gaming theater holds immense potential to redefine the traditional relationship between performers and audiences, transforming them from separate entities into co-creators of the theatrical experience.

Theatricality is a key concept in theater and cultural studies that encompasses the distinctive features of theater as a discipline (Fischer-Lichte, 1995), including the tension between spectators and performed spectacles, challenging theories that dismiss this dramatic element (Petrović-Lotina, 2019; Rashid MH., 2020). This paper addresses this transformative potential by exploring the following research question: How does the deliberate manipulation of the fourth wall in gaming theater productions affect audience interaction and consequently redefine the concept of theatricality within this emerging genre?

Audience participation in theater has evolved with the integration of new technologies and participatory elements. Interactive performances can engage audiences through text messages, allowing them to share their thoughts and feelings which are then integrated into the performance (Cerratto-Pargman et al., 2014). Virtual reality theaters have explored multi-user interaction, referred to as "audience interaction," allowing hundreds of participants to provide input and interaction on a shared screen (Ahn et al., 2001). In African dramatic theater, playwrights have developed a new concept of audience participation that categorizes spectators as "integral" or "integrated" to align European forms with African contexts (Abubakar, 2009). Digital theater productions, such as "Map to Utopia," utilize technological enablers, creating a sense of liveness and presence within the digital space (Çankaya, 2023). The aforementioned innovations demonstrate the evolving nature of audience participation in theatrical performances, blending traditional and technological approaches to enhance the viewer experience.

The fourth walls permeable nature has evolved from its traditional form into a versatile and multifaceted tool. Denis Diderot, Bertolt Brecht, and Augusto Boal made significant contributions to its development, exploring the tensions between producers and spectators (Cabeza, 2019). Becketts approach in plays such as "Waiting for Godot" and "Endgame," in relation to the fourth wall, creates a space of ontological uncertainty that mirrors the precarious nature of the lived experience (Davis, 2015). Breaking the Fourth Wall, which essentially involves characters directly addressing the audience, can have a significant impact on the audience experience across media. In video games, the timing of breaking the fourth wall influences player engagement and perceived competence (Kocur et al., 2021). For television viewers, breaking the fourth wall enhances enjoyment by strengthening parasocial experiences (Schlütz et al., 2020). In information narratives, interactive techniques of breaking the fourth wall can improve user engagement, personal story connection, and information recall (Shi et al., 2022). The concept of "interactive storytelling" examines the positive effects of breaking the fourth wall - particularly in animation - by creating both a distancing and a proximal effect. This approach encourages critical thinking about the storys message and the medium itself (Wijers, 2018). While breaking the fourth wall may seem to disrupt engagement, it can actually deepen audience connection and participation across various media forms. As technology advances, embracing fourth wall-breaking techniques may help audiences maintain critical reflection in their relationship with increasingly realistic virtual experiences.

Studies have shown that breaking the fourth wall increases perceived entertainment value and complexity (Auter & Davis, 1991). While some argue that breaking the fourth wall can disrupt the flow of narrative, research indicates that audiences generally respond positively to this technique within specific boundaries and find it more cognitively engaging (Auter & Davis, 1991; Schlütz et al., 2020). Overall, these studies support the use of breaking the fourth wall as an effective tool for enhancing audience engagement and enjoyment in theater and television.

This paper employs an analytical and conceptual approach to examine the impact of the fourth wall on audience interaction in gaming theater. The research methodology involves a qualitative analysis where the concept of the fourth wall is explored from historical, theoretical, and empirical perspectives. To gain a deeper understanding of the fourth walls influence, the author compares different approaches to breaking or maintaining this wall in traditional and innovative theater productions. The research particularly focuses on case studies of two gaming theater productions, analyzing the level of audience participation and the role of the fourth wall in these performances. Furthermore, the paper draws on case studies and existing literature to examine key theories about audience interaction in the performing arts.

The Power and Purpose of the Fourth Wall

Throughout the history of theater, the fourth wall has served as a foundational concept, shaping both the creation and reception of theatrical experiences. The invisible barrier of the fourth wall allows for the creation of a self-contained world. Actors within the confines of the stage behave as if the audience is not present, fostering a sense of authenticity and transporting the audience into a fictional space. The fourth wall also enables a controlled audience experience. Playwrights and directors can carefully curate the information presented to the audience, maintaining a sense of order, and guiding the audience through a narrative emotional journey. However, the concept of the fourth wall in traditional theater is not static. Playwrights and directors have long utilized its potential to create specific effects when strategically manipulated. A well-placed aside – where a character directly addresses the audience – can create a sense of intimacy or heighten dramatic tension. Wallace Shawn, in his theater, creates a disquieting sense of entanglement with the audience through self-reflexive monologues, blurring the lines between actors and spectators (Huh, 2021). This technique is also employed in television; precisely at the points where characters, in their roles, directly address the audience, enhancing audience engagement and entertainment value (Auter & Davis, 1991). The transmedia storytelling approach in House of Cards further extends this concept, with the main character interacting with real-world politicians on social media, effectively breaking a "fifth wall" (Ortega-Fernández & Padilla Castillo, 2020). The concept of the fifth wall in theater refers to the use of multimedia elements to enhance live performances (Wallace, 2009). However, not all playwrights embrace this technique.

Similarly, deliberate violations of the fourth wall, such as a character acknowledging the audiences presence or reacting to their laughter, can be a powerful tool. Strategic disruptions not only break the illusion of realism but also create a more direct and emotional connection between the audience and the performance. By highlighting the constructed nature of theater, such deliberate disruptions encourage the audience to become more actively engaged in interpreting the meaning of the play. The manipulation, however subtle, underscores the playwrights and directors control over the audience experience.

The Fourth Wall in Gaming Theater

The traditional concept of the fourth wall is transformed in gaming theater. This genre actively breaks down the separation between performers and audience, creating a participatory experience that redefines theatrical interactions, which manifest in various ways. For instance, permeable walls allow characters to acknowledge the audience or respond directly to them, fostering a sense of shared space. Interactive mechanics such as voting on plot points or manipulating the environment further blur boundaries, empowering the audience to actively shape the narrative. Thus, gaming theater elevates the passive observation inherent in traditional theater, transforming audiences into co-creators of the performance. Creators in this genre employ a multifaceted approach to dismantle the separation between performer and audience, fostering a participatory experience. One common technique involves creating permeable walls. Characters may directly address the audience, breaking the illusion of a self-contained world and inviting them into the performance. Dialogue can be adapted based on real-time audience reactions, and performers can solicit advice or input from the audience regarding narrative choices. This two-way communication fosters a sense of shared space and disrupts the traditional power dynamic between performer and audience. Gaming Theater further blurs these boundaries through the strategic use of interactive mechanics. For instance, voting systems empower audiences to influence plot points and shape the narrative trajectory in real-time. Manipulating the environment, which might involve creating sound effects or rearranging the set, allows for active participation in world-building. The fourth wall, in this context, becomes a bridge rather than a barrier.

Productions such as Sleep No More, (2011), while not strictly categorized as gaming theater, nonetheless demonstrate the fundamental principles of gamification in manipulating the fourth wall. Audiences freely explore a multi-room environment, encountering performers and directly impacting the narrative. The permeable wall fosters a sense of engagement. Audience members become detectives, piecing together a fragmented story through active searching for clues and interacting with performers. Their choices directly impact their experience, creating a sense of ownership and investment in the overall production.

Similarly, The Drowned Man, (2013) expands the boundaries of traditional theater with a more subtle manipulation of the fourth wall. Audiences observe a predetermined narrative with limited interactive possibilities while physically present in the performance space. However, the participatory environment and fragmented storytelling encourage active interpretation. Audiences must piece together the story through careful exploration and observation, fostering a sense of intellectual engagement. These productions, while not fully embracing the interactive mechanics of gaming theater, nonetheless demonstrate the potential of this genre to create unique and immersive experiences through contrasting approaches to the fourth wall.

Redefining Theatricality through the Fourth Wall

In traditional theater, the concept of theatricality is intricately linked to the distinct separation between the audience and the performance space. Theatricality extends beyond the stage, influencing other performance genres and even everyday life, ultimately blurring the lines between artistic practices (Féral & Bermingham, 2002). The separation facilitated by the concept of the fourth wall allows for the creation of a self-contained world. Playwrights and directors carefully craft a world on stage, using lighting, sound, and set design to immerse the audience fully in the presented fictional reality. Theatrical conventions support this experience. The controlled environment fosters a particular kind of audience engagement that relies on passive observation and emotional response within parameters set by the performance. Gaming Theater fundamentally disrupts this paradigm and redefines theatricality through the deliberate manipulation of the fourth wall. Permeable walls allow characters to move freely throughout the theater, interact directly with audience members, and incorporate their reactions into the narrative. The audience, in turn, sheds the role of passive observer and becomes an active participant. Their choices, actions, and reactions directly influence the unfolding drama, transforming them into co-creators of their own performance. The blurring of boundaries fosters a more dynamic form of theatricality that emphasizes collaboration, spontaneity, and the co-creation of meaning within a fluid and ever-evolving environment. A key shift lies in breaking the unidirectional transmission of content. Unlike the passive absorption of narrative in traditional theater, gaming theater fosters an active exchange. Audience members directly influence plot points using various systems, shaping the narrative trajectory in real time. Additionally, performers may seek advice from the audience or actively respond to their reactions, blurring the lines between scripted performance and improvised interaction. Their choices and participation directly impact the unfolding drama, creating a sense of ownership and shared responsibility for the performance.

Spectrum of Participation: Case Studies

This section analyzes two gaming theater productions, "Reflections of the Dream Realm" and "Harmony of Whispers," to examine how they utilize the fourth wall to achieve varying levels of audience participation and shape the overall theatrical experience.

Case Study 1: Reflections of the Dream Realm

Story: Audiences become a collective of dream weavers tasked with traversing a dream world and restoring balance to its emotions. Nightmares have infiltrated the dream world, causing emotional disharmony. The dream weavers use an augmented reality application to navigate the dream world, identify emotional imbalances, and create soothing emotions to restore harmony. This approach completely dismantles the fourth wall. 

Participation: Audience participation is multifaceted; firstly, they use color-coded cards to vote on the predominant emotions in specific dream locations, directly influencing the actors exploration and focusing their attention on areas of emotional imbalance. Secondly, in subsequent stages, the audience mimics the actors movements and complies with requests, aiding in the process of restoring emotions. Throughout this performance, the high level of interaction creates a sense of collective responsibility and emotional impact on the outcome. Audiences actively shape the narrative through their choices and actions, blurring the lines between performer and audience.

Case Study 2: Harmony of Whispers: A Collective Sonic Exploration of the Invisible World

Audiences become a group of researchers exploring a seemingly abandoned radio station rumored to be receiving strange signals. Through sound improvisation, sound manipulation tools, and collaborative storytelling, they decipher hidden messages within the static and uncover the secrets concealed within the invisible world. In contrast, Harmony of Whispers offers a less interactive approach to the fourth wall. Audiences remain physically separated from the performance space, seated in a black box theater equipped with headphones and microphones. While they are encouraged to use their voices to create soundscapes and respond to the invisible entities within the narrative, their primary role is as collaborative storytellers, piecing together the narrative by deciphering fragmented messages from the abandoned radio station. The fourth wall remains largely intact in this performance. Audiences are not addressed as characters within the story but as researchers working together to decipher the fragmented messages from the abandoned radio station. This approach minimizes the performative aspect of audience participation and prioritizes internal reflection and collaborative storytelling. These two case studies demonstrate the diversity of the fourth wall in gaming theater productions. Reflections of the Dream Realm completely dismantles the wall, creating a highly interactive experience where audiences actively shape the narrative. On the other hand, Harmony of Whispers maintains a more traditional separation but fosters collaboration and shared interpretation within the confines of the fourth wall. By analyzing these contrasting approaches, we gain A more profound comprehension of gaming theater productions redefine theatricality and create unique and interactive experiences for the audience. The contrasting approaches to the fourth wall examined in the case studies illuminate the spectrum of audience participation achievable in gaming theater productions.

In "Reflections of the Dream Realm," the demolished wall creates a highly active and participatory role for the audience. They directly influence the narrative trajectory through their choices and actions, fostering a sense of agency and collective responsibility. The interactive experience cultivates a strong emotional connection to the narrative as audience members are not merely passive observers but active agents shaping the emotional landscape of the dream world. Their participation extends beyond the physical space; through the augmented reality application, they are embedded within the narrative itself. Conversely, "Harmony of Whispers" employs a more traditional fourth wall and fosters a different kind of engagement. Here, audiences collaborate through sound improvisation and shared interpretation, piecing together the fragmented puzzle emanating from the abandoned radio station. The performance in question also prioritizes internal reflection and collaborative storytelling. Although audiences are separated from the performance space through headphones and microphones, they actively participate in the process of creating meaning within the narrative.

The manipulation of the fourth wall in gaming theater presents a unique set of opportunities and challenges that impact both audience engagement and the overall theatrical experience. On the one hand, the demolition of the fourth wall fosters a highly interactive and participatory environment. As examined in "Reflections of the Dream Realm," the permeable wall allows audiences to directly influence the narrative and become embedded within the world of the story. Additionally, a diminished fourth wall can encourage active collaboration, as seen in "Harmony of Whispers," where audiences work together to decipher hidden messages and co-create the narrative. However, manipulating the fourth wall also comes with challenges. Highly interactive experiences like "Reflections of the Dream Realm" require careful design to ensure meaningful participation opportunities for all audience members. Technical difficulties or imbalances in the dynamics of participation can disrupt the flow of the performance. Furthermore, a demolished fourth wall can create a less controlled environment and lead to audience behaviors that disrupt the intended narrative trajectory. Finding the right balance between audience agency and narrative coherence is essential to creating a successful gaming theater experience. By manipulating the fourth wall, gaming theater fundamentally redefines the relationship between audience and performer. In traditional theater, the audience remains a passive observer, separated from the action by an invisible barrier. 

Gaming Theater, through its interactive nature, breaks down this separation. Audiences collaborate with performers and even embody characters within the world of the story. This shift fosters a more dynamic and reciprocal relationship. Performers no longer merely deliver a predetermined script; they act as facilitators, guiding the audiences journey and responding to their choices. The participatory approach opens up exciting possibilities for future theatrical experiences. Imagine performances where audiences co-create the story alongside the actors in real-time, or productions that adapt based on audience preferences in the moment. By manipulating the fourth wall, gaming theater paves the way for a future of theater that is more participatory, interactive, and responsive to audience desires.

A.A.M. is responsible for the initial conceptualization of the research project and the development of the methodology used. He also took the lead in writing the original draft of the manuscript. M.A. provided overall supervision for the project and offered valuable guidance throughout the research process. He also played a crucial role in reviewing and editing the manuscript, ensuring its clarity and scientific rigor. H.K. provided additional expertise by reviewing and editing the manuscript. His feedback helped to improve the overall quality and presentation of the research findings.

The authors would like to thank the anonymous reviewers for their valuable feedback and suggestions, which helped to improve the quality of this paper. We also acknowledge the support of the Islamic Azad University Central Tehran Branch for providing the necessary resources for this research.

The authors declare that they have no conflicts of interest.