There is a wall on the stage for three years, which is made of material. The fourth wall is built between the stage and the audience pool, above the stage. This is spiritual. Its function is also spiritual.
The purpose of breaking the fourth wall is to break the audience's * * * voice brought by the actor's immersive performance and ensure that every audience maintains their own appreciation and judgment.
For example, Feng Gong will say "I miss you so much" at the Spring Festival Gala. Or the interaction between singing stars and fans under the stage. Still, many urban dramas attract the audience's attention and interest by means of performances and plots in order to attract the audience's appetite.
Poetry, as a theme, has nothing to say in form, but has a strong spiritual attribute in essence. It is spiritual, essential, self-centered and subconscious.
Poetry interaction, or breaking the fourth wall of poetry, includes surprises of sentences and paragraphs. I think this is just seasoning, not what poetry itself should have.
The process of poetry creation should flow slowly from the depths of the soul, be free-willed, and follow one's inclinations, just like an Andante.
And those decorations (the breaking of the fourth wall) are just a little bit, just right, just like a few rocks and a few small houses in a flowing river. Or a fallen leaf falls into the river with the autumn wind.
If deliberately unrestrained, the soul breath in poetry will be weaker, and finally only the figure of "he and me" will be left.
There is no need to deliberately tear down the fourth wall of poetry. As an actor (poetry creator), it is most important to immerse yourself or forget yourself.