A Quote by Simon McBurney

The only reality of the theater exists in the mind of the audience. That audience looks collectively at what is going on on the stage and collectively imagines that this is real.
The only reality of the theater exists in the mind of the audience.
You listen to the audience. The audience is wrong individually and always right collectively. If they don't laugh, it isn't funny. If they cough, it isn't interesting. If they walk out, you are in trouble.
Growth is a painful process. If we’re ever going to collectively begin to grapple with the problems that we have collectively, we’re going to have to move back the veil and deal with each other on a more human level.
In anything really, it's finding the reality. You can't be 'real,' but you can create a reality. And that created reality is what the audience believes in. And that's essential. Because if the audience doesn't believe that, they're never going to trust you. And if they don't trust you, you can't lead them up the mountain.
As an actor, early on, you learn that the audience is never wrong. And if you think they are wrong, you need to find a different way to make a living. Collectively the audience is smarter than you will ever, ever be.
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.
Sometimes they're all collectively thinking, "Wow, we're kinda a shitty audience," and then if you point it out, it's kinda like, "Hey, I know what's going on. We know what's going on up here. Or what's not going on. And I'm letting you know that I know. And now we can fix this."
The key thing about all the world's big problems is that they have to be dealt with collectively. If we don't get collectively smarter, we're doomed.
The audience is the most revered member of the theater. Without an audience, there is no theater. Everything done is ultimately for the enjoyment of the audience. They are our guests, fellow players, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.
Any show that's bringing in a young audience is doing a good thing, because that's the only way that theater will continue to grow. All the other audience members are going to be dead soon!
I think that, in principle, a workshop is such a beautiful idea - an environment in which writers who are collectively apprenticed to the craft of writing can come together in order to collectively improve.
We know that we are not collectively guilty, so how can we accuse any other nation, no matter what some of its people have done, of being collectively guilty?
I'm conflicted with theater in the city because you want to reach a diverse audience, and that audience doesn't typically go to the theater.
It is not enough to demand insight and informative images of reality from the theater. Our theater must stimulate a desire for understanding, a delight in changing reality. Our audience must experience not only the ways to free Prometheus, but be schooled in the very desire to free him. Theater must teach all the pleasures and joys of discovery, all the feelings of triumph associated with liberation.
Somebody has to be on stage, and some people have to be in the audience. That's the only difference. Don't put any thought as to why you are on the stage or how you need to be 'better' than the people in the audience. You aren't better. You're simply the speaker.
I will have a playlist ready that I'll play out to the audience before I walk on stage, and I'll listen to that same playlist in the room, so by the time I walk on stage, I'm in the same frame of mind the audience is.
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