The Fourth Wall

What is the primary problem an actor faces that the concept of 'The Fourth Wall' is designed to solve?

According to the chapter, what is the crucial first step for making an imagined visual object, like a windowframe, feel real to an actor?

In Elia Kazan's production of 'Cat on a Hot Tin Roof', Maggie arranging her hair in an imaginary mirror is used as an example of what?

How does the author suggest an actor can create the illusion of an object being near or far away without moving from their spot?

What is the specific exercise the author proposes for practicing the secondary use of the fourth wall?

When setting up a secondary fourth wall, what is the minimum number of imaginary objects the author suggests an actor should place in the auditorium?

What is the author's key instruction regarding the conversation during the telephone call exercise when it is presented?

What happens if an actor, while talking on the phone, contacts a fourth-wall clock to check the time?

According to the author, where should imaginary objects for a secondary fourth wall be placed to avoid audience interference?

What is the author's reaction if a director complains and asks what the actor is looking at out front?

What is the ultimate feeling the author states an actor will experience when the fourth-wall technique is totally successful?

How many times does the author suggest an actor might need to repeat the telephone call exercise with variations before it is totally successful?

What does the author warn against doing if you are the only actor on stage openly relating to imagined objects on the fourth wall?

In the telephone call exercise, where does the author state the visual attention normally goes if you are lying on your back on a bed or sofa?

What is the author's argument against the idea that it's 'too dark' to anchor imaginary objects in the auditorium?

The chapter distinguishes between a primary and secondary use of the fourth wall. What defines the 'secondary' use?

What must an actor know about an imagined object 'so well that you can close your eyes and see it'?

During the telephone exercise, what is the author's advice if the nature of the call demands taking notes?

The author recalls a personal experience at a dress rehearsal where the audience intrusion led her to do what?

What should be the relationship of the imagined objects on a secondary fourth wall to the objects on stage?

What is the author's advice about 'checking' if you really see the objects on your fourth wall during a performance?

The author suggests that when a play dictates the audience area must be used for a primary purpose, such as referring to a hill or house out front, the task becomes:

What example does the author use to demonstrate how an actor can recreate the bodily adjustments for distance?

The author suggests that each actor will build their own private fourth wall because the objects chosen will have no other consequence than on what?

What does the author suggest you should do after becoming aware of the objects your eyes land on while telephoning at home?

The author suggests taking as much time to establish your fourth wall as you would to do what?

What is the author's advice regarding when an actor should look up to make use of the fourth wall?

The chapter states that if the entire production is not conceived to use the fourth wall for a primary purpose, an actor doing it all by themself should:

What is the consequence of trying to turn an exit sign into a picture, according to the author's parenthetical advice?

For the telephone call exercise, the author states that the duration of the exercise is:

Why does the author suggest an actor must rehearse the content of the phone call at least ten times before presenting the exercise?

Which of the following best describes the goal of using a secondary fourth wall?

The author states that if an actor's eye touches on a fourth-wall clock while talking, it's fine, but what is the crucial mistake?

What does the author identify as a common but incorrect way actors deal with the 'gaping hole' of the audience?

The author contrasts 'hiding' from the audience with another equally problematic behavior, which is:

The feeling of an imaginary object's distance (near or far) is created by the actor finding the right focus and re-creating the necessary:

Why must the objects for an actor's private, secondary fourth wall have logic and be consistent with the place?

In the telephone call exercise, what is the relationship between the inner and outer focus?

What does the author claim will happen if an actor improvises the conversation during the presentation of the telephone exercise?

The author concludes that once the fourth wall technique is mastered, an actor will always want to build a fourth wall in:

What is the primary danger of an actor trying to 'suspend' an imagined visual object in midair?

When the author describes her experience of being stopped by the director for hiding, what was the director's instruction?

The author states that the audience will probably do what if an actor is the only one on stage using a primary fourth wall?

The objects an actor places on their secondary fourth wall must be so particular that they can do what?

In the context of the secondary fourth wall, what is the consequence of distance or physical relationship to the imagined objects?

What physical posture is associated with the visual attention going to the floor during the phone call exercise?

The successful use of the fourth wall allows the wall to simply do what for the actor?

What does the author suggest an actor should not try to do at the moment of placing an imagined object in the auditorium?

The author compares establishing a fourth wall to 'finishing the room'. What does this imply about the process?

What is the primary difference between how a primary and a secondary fourth-wall object is used by the actor?