A Quote by Edward Albee

The final evaluation of a play has nothing to do with immediate audience or critical response. — © Edward Albee
The final evaluation of a play has nothing to do with immediate audience or critical response.
There's nothing more instructive than the immediate response of an audience.
I find relatively little relationship between the work of art and the immediate critical response it gets.
I was born to do sitcoms, where you get an immediate response from the audience.
There's nothing like a play. It's so immediate and every performance is different. As an actor, you have the most control over what the audience is seeing.
The stage is bigger than life. There you are projecting to an audience. In television, you're drawing the camera in to you. And with TV, there isn't that immediate feedback from an audience. You do hours and hours of taping and never get that response.
When you can connect with a live audience and you get that immediate response it's just great.
I prefer that for my own satisfaction over radio, there's no audience. TV, there's no audience. I need the response of the audience, even if it's a silent response.
I think what working in a short film online is that the response from the audience is immediate whether your short film or web-series works or not, it is immediate. You can see comments and you can also see how many people have viewed it.
When you play the oboe, the flute or other wind instruments, there is something between you and the breath; there is the embouchure, the reed, etc. But with the recorder, I receive an immediate response from the instrument. This is something that attracted me to the instrument, that I could immediately feel the response of what I was doing.
Good critical writing is measured by the perception and evaluation of the subject; bad critical writing by the necessity of maintaining the professional standing of the critic.
I long for an audience. I ache for it. I think that's one of the hardest things about the television medium is that you don't get that. You don't get that immediate response.
We as comics do want an immediate response from the audience. It's really quiet on the set, and there are only the producers, and the director, so a comic is looking for someone to give a reaction, even if it is the camera guy.
Different ‘philosophies’ represent nothing but methods of evaluation, which may lead to empirical mis-evaluation if science and empirical facts are disregarded.
In France, I'm not going to say the audience will laugh for nothing, but you could compare the response I get to the response Louis CK or Chris Rock would get if they go up in a club in Denver tonight.
Audiences of critical thinkers are my favorite kinds of audiences. There are jokes I tell in the show that don't get laughs unless I am in front of an audience of critical thinkers. Put me in front of a crowd of science teachers or astronauts! The guileless aren't our audience - it's the critical thinkers we love.
Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.
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