A Quote by Chris Abani

I love essays, but they're not always the best way to communicate to a larger audience. — © Chris Abani
I love essays, but they're not always the best way to communicate to a larger audience.
On stage, I'm always nervous, but there is so much adrenalin, too. It's strange because I have to turn my back on the audience, and my audience is the orchestra. I communicate my energy to them, and they communicate it to the audience behind me!
Poetry is poetry. My process is I try to write the best poem I can, in the best way to communicate whatever it is the poem is trying to communicate, and then I try to figure out the best way to present that poem to a live audience. It's all craft, just different stages of craft.
If I can get the audience to connect with the characters emotionally - and they love who they are, they love the larger-than-life situation that they're in, but most of all get the audience invested in the characters - then I always feel like I can sort of put them in the most outrageous circumstances, and the audience is okay to go with that.
My brain has always been wired in such a way that I'd rather communicate to a smaller audience who really get turned on by what I do than meet a wider audience and give them milk.
The multiplexes audience has one way of thinking. When they are all sitting together temperamentally, there is room for a filmmaker to reach out to a far larger audience in a comfortable way.
I love doing concerts. For me, it's the favorite thing I do. I get to communicate with the audience in a direct way.
In the past, young, talented architects worked together to form a strong social agenda and communicate with a larger audience. That's what today's architecture community should be.
I wasn't in NXT for very long, but what I learned there was very valuable once I got onto the main roster - how to communicate to a larger audience, stuff like that.
I love storytelling and I love just relating directly to an audience. That's why we do theatre, it's because we love contact with the audience. We love the fact that the audience will change us. The way the audience responds makes us change our performance.
I feel that I'm an essayist and that my best work gets done in that form. I wanted to do a book where the essays could exist on their own terms. A book that was neither a book of essays that were shoehorned into a memoir, nor [one where] the essays had been published elsewhere first, [because] then they would kind of bear the marks of those publications.
I love writing essays and articles, so it's hard for me to resist taking assignments that inevitably pull me away from larger projects.
As much as we love playing the small clubs, we'd really like to get ourselves in front of a larger audience. I'm not talking about arenas or anything, but nice theaters and larger clubs.
I've always thought of the audience. I just want to entertain the audience. That's what it's about: what's good for the movie, what's best for the movie, what's best for the audience.
The parents in the room know that texting is actually the best way to communicate with your kids. It might be the only way to communicate with your kids.
But I always communicate with the audience. I never pretend like I'm just in my bedroom making a track. The whole point of doing a gig is, like, a feedback thing between you and the audience.
Speaking of love, one problem that recurs more and more frequently these days, in books and plays and movies, Is the inability of people to communicate with the people they love: husbands and wives who can't communicate, Children who can't communicate with their parents, and so on. And the characters in these books and plays and so on, And in real life, I might add, spend hours bemoaning the fact that they can't communicate. I feel that if a person can't communicate, the very least he can do is to shut up!
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