A Quote by Simon McBurney
The only reality of the theater exists in the mind of the audience.
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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.
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.
You believe that reality is something objective, external, existing in its own right. You also believe that the nature of reality is self-evident. When you delude yourself into thinking that you see something, you assume that everyone else sees the same thing as you. But I tell you, Winston, that reality exists in the human mind, and nowhere else. Not in the individual mind, which can make mistakes, and in any case soon perishes: only in the mind of the Paty, which is collective and immortal.
Reality exists in the human mind, and nowhere else. Not in the individual mind, which can make mistakes, and in any case soon perishes: only in the mind of the Party, which is collective and immortal.
The paradox of reality is that no image is as compelling as the one which exists only in the mind's eye.
There exists, if I am not mistaken, an entire world which is the totality of mathematical truths, to which we have access only with our mind, just as a world of physical reality exists, the one like the other independent of ourselves, both of divine creation.
Performing in the theater is a very ethereal profession because you do it once and it goes out into the ether and it goes into people's minds and that's the only place that it ever exists. And it never exists truly; it only exists in the way that people think they remember it. But it's a really powerful way to tell a story and to pass something on.
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.
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.
You have to understand the separation between what exists in the print media and what exists in reality. It's important to never lose track of reality.
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.
At the core of what I'm doing is a belief in the audience, a belief that populism doesn't mean dumbing down theater, but rather giving the audience a voice and a role in experiencing theater.
That we do not discover reality but rather invent it is quite shocking for many people. And the shocking part about it - according to the concept of radical constructivism - is that the only thing we can ever know about the real reality (if it even exists) is what it is not. It is only with the collapse of our constructions of reality that we first discover that the world is not the way we imagine.
Reality exists in the human mind, and nowhere else.
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.
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!
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