A Quote by Billy Connolly

Behind the proscenium arch, you can't always hear what people in the audience are saying. — © Billy Connolly
Behind the proscenium arch, you can't always hear what people in the audience are saying.
The camera lens or the television camera is still just a proscenium arch. And as a great old character actor once said to me, wherever you're acting, you reach up and take hold of the proscenium arch, and you pull it down around your shoulders.
All art is dependent on technology because it's a human endeavour, so even when you're using charcoal on a wall or designed the proscenium arch, that's technology.
All art is dependent on technology because it's a human endeavour , so even when you're using charcoal on a wall or designed the proscenium arch, that's technology .
Many of my short fictions use theatre as a metaphor for situations in which characters find themselves estranged from the larger, uncontrollable world that may or may not lie beyond the proscenium arch.
A cigarette is a breathing space. It makes a parenthesis. The time of a cigarette is a parenthesis, and if it is shared, you are both in that parenthesis. Its like a proscenium arch for a dialogue.
A cigarette is a breathing space. It makes a parenthesis. The time of a cigarette is a parenthesis, and if it is shared, you are both in that parenthesis. It's like a proscenium arch for a dialogue.
When I'm writing it's as if I'm the observer. It's as if that computer screen there -it used to be the typewriter - just kind of dissolves and there's this whirling tunnel of mist and there's a kind of proscenium arch, and then there are my characters, and they say what they say, and I laugh sometimes in surprise at what they say.
Outside the arch, always there seemed another arch. And beyond the remotest echo, a silence.
I actually think film and TV are sort of the same thing now. To me they're all motion pictures. There's a camera, a script, other actors and a director. Doing a sitcom is a little different. It's kind of a hybrid, half movie, half play, presented in a proscenium fashion - the camera's on one side of the line, the set on the other, the audience sitting behind the cameras.
When I've been on shows as a guest, I'm backstage, so I don't usually hear what the warm-up is saying, so I went and watched a couple of people do it and thought, 'Actually, I reckon this is do-able.' The audience is usually excited to be there; it's just getting a good chat with people.
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!
With Hulk, I don't agree with all his choices, but you know what, I don't hear people saying all the great things he does. When he was on the Wheaties box, all those kids that said their prayers and took their vitamins, I don't hear them saying that.
I hear all the critics, man. I hear them saying 'He's done.' I hear them saying 'He can't.' I hear all that. That keeps me going.
You can't worry too much about what you think the audience wants to hear. You just have to hope that you're a likeable enough person that what you're saying will relate to other people, so they can laugh at it as well.
You hear some people saying, 'I'm alive on stage; it's where I feel most complete...' I don't understand that at all; I find that weird and depressing. I don't dislike the audience; it's just when I'm up there, they're in the darkness. There's just a sound of laughing or not. They're not 'people,' they're this big organism.
If you wanna hear what the people are saying, you can hear what the Rastaman saying.
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