But theater, because of its nature, both text, images, multimedia effects, has a wider base of communication with an audience. That's why I call it the most social of the various art forms.

That's the magic of art and the magic of theatre: it has the power to transform an audience, an individual, or en masse, to transform them and give them an epiphanal experience that changes their life, opens their hearts and their minds and the way they think.

A work of art doesn't exist outside the perception of the audience.

The history of modern art is also the history of the progressive loss of art's audience. Art has increasingly become the concern of the artist and the bafflement of the public.

Actually, the year anniversary of what you just heard, my son Grahame and I are going to be in a play together, and I'm acting for the first time in front of an audience that doesn't consist of a high school drama class.

If you lead with the anger, it will turn off the audience. And what I want is the audience to engage with the material and to listen and then to ask questions. I think that 'Ruined' was very successful at doing that.

I'm really busted up over this and I'm very, very sorry to those people in the audience, the blacks, the Hispanics, whites - everyone that was there that took the brunt of that anger and hate and rage and how it came through.

The great thing about celebrity culture is that they can't seem to stop themselves from displaying their ridiculous behaviour. I feel it's my job as a serious investigative journalist to witness all kinds of behaviour and then report back to the audience through the prism of my own anger and bitterness.

Self-pity, a dominant characteristic of sociopaths, is also the characteristic that differentiates heroic storytelling from psychological rumination. When you talk about your experiences to shed light, you may feel wrenching pain, grief, anger, or shame. Your audience may pity you, but not because you want them to.

What turns me on is to walk into a sold-out venue. The audiences are so much the same as they were in the '60s. It's just an amazing thing. I can't explain it, but I hope it never stops.

When we'd suggested doing it, the Theatre Royal management had said, 'Nobody wants to see Waiting for Godot.' As it happened, every single ticket was booked for every single performance, and this confirmation that our judgment was right was sweet. Audiences came to us from all over the world. It was amazing.

My public image is so low-key, but I get to travel the world and still have an audience and it's really amazing. I don't take that for granted.

Nowadays, 'Drag Race' shows how fantastic and amazing drag queens can be, so audiences won't sit through a boring show anymore. You have to keep people entertained.

I've never done anything like 'Brotherhood' before. It was a great challenge to take up a part in a live audience sitcom - it was amazing.

There's something about small venues that's amazing for developing material. It's almost like you can not only hear people's response, but you can understand it. In bigger venues you lose that, but you gain this sense of camaraderie in the audience.

'Jersey Boys' has been the most amazing experience ever and has exposed an entire new audience to the music. It's great to see people of all ages coming to the show.

My kids are my No. 1 priority. They're the light in my everyday life. The sunshine. The miracle. Those eyes. Those smiles. At the same time, I have an extended, amazing family that is my audience. All these people have been with me for such a long time. I have these two responsibilities.

It's very intense to be in front of a live audience. It's just an amazing experience. It's dangerous. Everything out there is heightened. The bad stuff is extra-worse. The silences are extra-silent. The good stuff is amazing. It's electric when you walk out there. For 90 minutes, you're on this other planet.

When talented people write badly, it's generally for one of two reasons: Either they're blinded by an idea they feel compelled to prove of they're driven by an emotion they must express. When talented people write well, it is generally for this reason: They're moved by a desire to touch the audience.

Literary fiction and poetry are real marginalized right now. There's a fallacy that some of my friends sometimes fall into, the ol' "The audience is stupid. The audience only wants to go this deep. Poor us, we're marginalized because of TV, the great hypnotic blah, blah." You can sit around and have these pity parties for yourself. Of course this is bullshit. If an art form is marginalized it's because it's not speaking to people. One possible reason is that the people it's speaking to have become too stupid to appreciate it. That seems a little easy to me.

Always mystify, torture, mislead, and surprise the audience as much as possible.

Monetizing your art, your spiritual talent, is not a sin. It requires a nuanced approach. You must have humility of expression ? recognize that you are just an instrument through which your art flows. And you must have a sharp understanding of commerce and your market/audience. Overthinking either of these aspects or confusion between these two aspects will leave you in a mess ? and very, very unhappy!

If our lives are tales that Allah tells, then we are the audience as well as players, and it is by living these tales that we receive their lessons.

A book cover design is a sweet spot between three different coordinates - it reflects the content, matches the personality of the author and resonates with the audience.