A Quote by Rose Byrne

With a comedy, it's so important to see it with an audience and an audience who really wants to be there and is enthusiastic, otherwise it can be quite a traumatizing experience.
Comedy can be more difficult than drama. It requires more attention to timing. In the theater, you're always dependent on the audience for the energy, but in comedy the feedback you get is more important. You can judge by the quickness and the length of the laugh just where you stand with the audience.
What I enjoy about my work is that it's all things that I wanted to see as an audience member so there's part of me that understands what an audience wants to see in that respect.
Unfortunately, because the theater is always a poor relation when it comes to making the nut, it's not easy to get the audience in to see a play, unless you have a name that is recognizable, that the audience wants to see and is prepared to pay the $125 to see.
Being in front of the audience, letting my audience see me in person - it is real intimate, you get to make them laugh and cry, they get to feel you. And then afterward, we go out and do a meet-and-greet session with the fans. It was just a wonderful experience. I really, really enjoyed it.
The appreciative smile, the chuckle, the soundless mirth, so important to the success of comedy, cannot be understood unless one sits among the audience and feels the warmth created by the quality of laughter that the audience takes home with it.
I think the biggest challenge was being aware of a certain audience that was going to see this film [lone survivor]. There's a big difference from a typical movie, journalists and critics and film goers that go see it find that, that's the general experience you have as a filmmaker. So that just kind of proves my point that there's a really different audience.
I love that drag is a way for people to vacation in the gay nightlife, but... it's quite a different experience to perform for a gay audience than a straight audience.
I remember quite well that 10,000 audience sang with us three on the spot, and ever since then, I always thought the Chinese audience are the greatest audience.
And if you can channel the truth of your own experience onto the stage, that's what the audience wants to see.
I think every theater in America wants a younger audience... and you can't just hope to have a younger audience, you have to program things that audience is going to connect with.
I think when you're younger, as an actor you have much more of a notion that you are doing something to the audience. But with experience, I think you begin to worry less about what the audience's experience is and concentrate on working with the other actors, and that tends to let the audience do more work.
If I knew what the audience wants to hear I would be the richest guy in the world! There are a lot of people who think they know what the audience wants but are sadly rejected.
In comedy, beware the split focus. The audience should focus on the face of the actor. The audience must see the setup. If there is action elsewhere on the stage, the comic line can be lost.
For anyone who works in front of an audience there is no thrill quite like that of feeling and hearing the evidence of the audience members' enjoyment. Laughter and applause really are powerful.
The theater is a communal experience, and whatever the emotional connection between an audience member and the actors onstage, it ripples through the whole audience. Part of the fun of the play is being a part of that audience.
I see the audience as the final collaborator. I think it's kind of bullshit when people say, "I'm not interested in the audience reaction." I'm like, "Then why do you do theater? You can write a book, then you don't have to see how the audience reacts." It's a living, breathing thing.
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