The “Suspension of Disbelief” is a vital notion in any live stage performance. We know we are sitting in a comfortable theatre in Washington, D.C. watching actors — and not in a gloomy, dark, forest in Germany watching murderers in the night — and we willingly suspend reality in favor of disbelieving what our eyes and minds are telling us is not real.
If we are unwilling to imagine — or to Suspend our Disbelief — we are not honoring the sacred covenant between watcher and live performer.
Our demand to force reality into artifice will irretrievably shatter any live performance: We don’t go along with the notion; the plot will never propel us forward.
That’s why shattering the fourth wall is such a vile contraption — it is ill-conceived in every reality and invented enterprise — because you cannot suspend disbelief when you have an actor actively smashing the invisible wall that protects, and defends, your disbelief.
Any live performance must always have the Suspension of Disbelief integrated into the DNA of any seed that inspires the hope for filling an empty space.
It is our moral duty and our cohesive quest to bring together vast and various minds — some of them unwilling or unable to disbelieve — and needfully show them the way of the why, and then give them a reason to suspend reality in favor of something grander and something more humanly communal than their less important and selfish want to remain stoically alone and factual in their brittle facade of a life.