Performers frequently talk about reaching out to audiences by breaking the "fourth wall." To accomplish that, some artists prefer site-specific works, which are designed for a particular space in all of its idiosyncracies. That brings the performer closer to the audience, but it is still considered a performance setting.

Perhaps the closest of casual sites was the East End Event, where people made rooms in their homes into pieces of arts, usually filled with works along the lines of art installations, paintings or an intimate Attack Theatre dance.

Pearlann Porter, artistic director of The Pillow Project, has taken that nugget of an idea and transported it into a single large space at Construction Junction.

Porter and friends have been moving in that direction. There was "The Concept Album," a rock 'n' roll theme with live music and video, and "Striped," a red, black and white garage-rock format that influenced the accompanying art, design, costumes and color-coordinated classic cars on display. "The Swank Easy," a re-creation of a nightclub at Construction Junction a year ago, came closest to the company's current direction.

This past weekend, in the first installment of The Pillow Project's "by volume" series, titled "Characters," Porter eliminated the formal audience viewing area. The second floor space, so open with its warehouse windows on three sides, contained a few cozy couches. The bar was back with its "The Swank Easy" neon sign, and the terrific Elliot Roth Trio was on hand between dances.

There was no particular program order during the five hours allotted for the performances, where the audience came and went, much like a private party. Most of "Characters" was based heavily on improvisation. But performers such as Beth Ratas and Elaine Russo were so comfortable in their rhythmic conversation with drummer PJ Roduta, deliciously titled "Miscellaneosity," that it clung like a second skin over their bodies.

That didn't mean that the company was cavalier about this method -- the rehearsal process was obviously frequent and diligent. And "Miscellaneosity" was different each time it was viewed. Nighttime was best, with the sky a dark blue through the windows. Tiny light bulbs hung like fireflies frozen in time and stationary spotlights often bathed the dancers' solos in rich colors and evocative shadows.

Viewing location could influence the performance as well. The staircase in the back corner was a prime spot, but an entirely different perspective could be found anywhere in the room.

Mostly the dancers conversed or observed. Sometimes there would be a movement study or a flurry of scat-dancing, where Porter herself had a great handle on some easy footwork.

Patrons could also see plenty of artwork on the walls, from Maria Rago's evocative photos to video pieces. There was an Andy Warhol influence in Moze's graphic designs and Ryan Hose's repetitive pen-and-ink drawings inspired by Douglas Adams' "The Ultimate Hitchhiker," a project that will become a full-blown wrap-around mural in the final phase.

It was important to take in as much as possible because these "Characters" were threads that mutated across disciplines. A painting might become a dance. Or not. But I'll bet that future performances will stand on their own.

Patrons should allow a couple of hours to kick back and relax. The pieces might be loosely structured on a one-hour format, but the improvisational aspect brought about changes.

It's was all a great showcase for Pittsburgh's young artists, so mark your calendars now. The Pillow Project will return with Volume II Aug. 31 and Sept. 1, then Oct. 12-13. The epilogue, with that giant mural, will take place in December, dates to be announced. As for admission, Porter charged $5 and the bar tab depended on what customers chose to donate.