Quotes about audience
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“A sitcom is the closest thing for me to doing stage because you work in front of an audience, and if it's well written it can be very satisfying.”

Nathan Lane (1956) American actor

Sunday Tasmanian staff (January 4, 1998) "This Is A Very Mice Story!", Sunday Tasmanian, p. 037.

“Translation:On reviewing the movie Avatar:"To audiences outside China, the salvage demolition and relocation is beyond their imagination, that is to say, it can only happen in outer space planets, or China.”

Han Han (1982) Chinese writer and racing driver

Imagination

“Both dogmatism and metaphysics … are attempts to project one’s own views on the world, and they are just as much attempts to hide precisely this projection from themselves as well as from their audience.”

Alexander Nehamas (1946) Professor of philosophy

Source: Nietzsche: Life as Literature (1985), pp. 33-34.

World

“Internet companies and nonprofits like Wikipedia have been forced to choose between cooperating with the Chinese government and losing access to the growing online audience there.”

Noam Cohen (1999) American journalist

[Noam, Cohen, The New York Times, http://www.nytimes.com/2006/10/16/technology/16wikipedia.html?_r=0, Chinese Government Relaxes Its Total Ban on Wikipedia, October 16, 2006, October 29, 2014]

“Mr. Magoo Rule: Text and graphics must be easily distinguished and recognized. Don ́t make your audience members feel like the vision challenged Mr. Magoo—viewers of an electronic slideshow should not risk eyestrain!”

Stephen Kosslyn (1948) American psychologist

Source: Better PowerPoint (R), 2010, p. 11

Feeling

“Reader, I must confess that while attending the sneak preview with its overwhelmingly female audience, I was gob-smacked by the delightful cleavage on display. Do women wear their lowest-cut frocks for each other?”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/sex-and-the-city-2-2010 of Sex and the City 2 (25 May 2010) Reviews, One-star reviews

Women

“Despite its flaws, Peddling Prosperity has much to recommend it. There is no book written for a lay audience that explains the economics profession with more perception or clarity than this one.”

N. Gregory Mankiw (1958) American economist

N. Gregory Mankiw, Review of Peddling Prosperity: Economic Sense and Nonsense in the Age of Diminished Expectations by Paul Krugman, Journal of Economic Literature (Dec., 1995)
1990s

Books

“The Greeks used to put a lot of bodily functions in their plays, and a lot of graphic sexual material, because they believed, that in performing that way it released the demons of shame from the audience, which is what I believe. Cuz I think we’re all pretty much the same, and we all have grown up with that shame-based thing that America deals with, right? And to sit there and hear someone talk about their love of having sex, whatever, makes you feel like you’re not alone, with what you think maybe are dark, twisted thoughts, cuz they’re not. We all share these thoughts. So that’s why I talk like I do, or did, before I retired tonight.”

Bill Hicks (1961–1994) American comedian

Relentless (1992)

Love, Sex, Way, Feeling

“And I'm not saying that television is vulgar and dumb because the people who compose Audience are vulgar and dumb. Television is the way it is simply because people tend to be extremely similar in their vulgar and prurient and dumb interests and wildly different in their refined and aesthetic and noble interests.”

David Foster Wallace (1962–2008) American fiction writer and essayist

E Unibus Pluram: Television and U.S. Fiction
Essays

People, Way

“I wanted to play it with an economy of words and create this whole feeling through attitude and movement. It was just the kind of character I had envisioned for a long time, keep to the mystery and allude to what happened in the past. It came about after the frustration of doing Rawhide for so long. I felt the less he said the stronger he became and the more he grew in the imagination of the audience.”

Clint Eastwood (1930) actor and director from the United States

On playing the Man With No Name character
Source: Clint: The Life and Legend (1999), p. 133.

Feeling, Imagination, Time, Past

“Now, practically all reviewers have academic aspirations. The people from the universities are used to a captive audience, but the literary journalist has to please his audience.”

V.S. Pritchett (1900–1997) British writer and critic

As quoted in "V.S. Pritchett Himself" http://www.nytimes.com/books/00/06/18/specials/theroux-pritchett.html?_r=1&oref=slogin by Paul Theroux in The New York Times (22 May 1977)

People, Universe

“Men whose only concern is other people's opinion of them are like actors who put on a poor performance to win the applause of people of poor taste; some of them would be capable of good acting in front of a good audience. A decent man plays his part to the best of his ability, regardless of the taste of the gallery.”

Nicolas Chamfort (1741–1794) French writer

Reflections

Men, People, Parting

“Audiences and critics acknowledge that a play or concerto gains force in great rendition. A good play may overcome bad staging. A great concerto may survive a poor soloist. But it is naturally assumed that a more accomplished performance intensifies the impact of the work. The play's text or concerto's score does not change, but the right actors and musicians help realize its full potential. Among contemporary literary critics, however, one never encounters this notion in regard to books and printing. To recognize the sensual contributions of the physical elements of a book is somehow assumed to demean the spiritual purity of the text. To notice the book itself smacks of philistinism, and to make distinctions based on paper, binding, and typography brings accusations of elitism or decadence.”

Dana Gioia (1950) American writer

"Designing Literature: Creative Collaboration" http://www.danagioia.net/essays/ecreative.htm (1992) Essays

Books, Nature, Change, Help

“We had two masters of the spoken word in South Africa, General Smuts and his lieutenant J. H. Hofmeyr, whose life I wrote. Smuts spoke in a high-pitched voice, not the kind of voice that one would expect from a famous soldier, but he too could hold an audience in the hollow of his hand, partly because he was Smuts, partly because he could say nothing trite or shallow, partly because he knew how to speak to ordinary men and women.”

Alan Paton (1903–1988) South African writer and activist

Alan Paton on Smuts's oratory, in Paton's final essay, A Literary Remembrance, published posthumously in TIME, 25 April 1988, p. 106.

Life, Women, Men

“From the start, the prose in my Hank books copied the storytelling techniques of ranchers and cowboys, which means it was heavily influenced by an oral tradition. It was a natural and easy step to move from reading my stories aloud to audiences in Perryton, to recording them in a studio in Amarillo. The Hank audios have the feel of the radio programs I listened to in the fifties: character voices, background music, and sound effects.”

John R. Erickson (1942) American author

John R. Erickson on the discipline of writing, the world of publishing, and (of course) dogs http://www.lonestarliterary.com/john-r.-erickson-061415.html (June 14, 2015)

Books, Music, Feeling, Nature

“I can't imagine working without an audience.”

Bea Arthur (1922–2009) actress, singer, comedian

Interview, The New York Times, December 6, 2000

Imagination

“The atmosphere at the conference was frankly hostile. (…) It was up to people from the audience to protest and oblige the chairperson to allow me to read out my paper. When it was my turn, I was heckled somewhat by the Leftist crowd, especially by a well-known Indo-American Communist academic, who was rolling his eyes like a madman and making obscene gestures until an elderly American lady sitting next to him told him to behave. At the end, Mathew came to collect a copy of my text (the book version, of which I had some author's copies handy), called me a "liar, and told his buddies that they needed to write a scholarly rebuttal. Which is still being awaited today.”

Koenraad Elst (1959) orientalist, writer

2000s, Ayodhya: The Case Against the Temple (2002)

Hostility, People, Books, Reading

“I don’t write stories to tell readers what to think, or even tell them what I think; I write stories to show me what I think. Writing is always a journey of discovery that way, as suspenseful for me as I hope it will be for the audience.”

Lois McMaster Bujold (1949) Science Fiction and fantasy author from the USA

Geek Speak Magazine Interview (2010)

Hope, Way, Thinking

“In August 2009, MSNBC's Contessa Brewer was discussing a tea party rally in Arizona, where it's legal to carry an unconcealed weapon. She said: "A man at a pro-health care rally… wore a semiautomatic assault rifle on his shoulder and a pistol on his hip… There are questions about whether this has racial overtones, I mean, here you have a man of color in the presidency and white people showing up with guns." All that her audience was shown were a rifle and pistol strapped to a man's back. MSNBC concealed the fact that the armed man was black and did not show the interview he gave to the reporter. Brewer knowingly deceived her audience because an armed black man didn't fit the racial narrative.”

Walter E. Williams (1936) American economist, commentator, and academic

"Leftist race-baiters stir up animosity" (9 May 2012)
2010s

People, Health, Color, Question

“I bet you anything I could destroy Milton Friedman in a debate about economics — so long as the audience was comprised of five year olds. He may have a Nobel Prize, but I can make offensive sounds with my armpit. Advantage: Goldberg!”

Jonah Goldberg (1969) American political writer and pundit

July 19, 2004 http://web.archive.org/web/20040421/www.nationalreview.com/goldberg/goldberg200407190837.asp 2000s, 2004

“Humiliation and indifference, these are conditions every one of us finds unbearable–this is why the Coyote when falling is more concerned with the audience's opinion of him than he is with the inevitable result of too much gravity.”

Chuck Jones (1912–2002) American animator, cartoon artist, screenwriter, producer, and director of animated films

Chuck Jones, Stroke of Genius, A Collection of Paintings and Musings on Life, Love and Art (Linda Jones Enterprises, 2007), 78.

Indifference

“Truthfully, the job security in this business is uncertain, the hours are long, long and lonely, the audience is increasingly small, fickle and dissatisfied, like 3 of the 7 Dwarves. Respect is nonexistent, success fleeting; you'd be better off in a boy band, where at least you'd get laid before they made you obsolete.”

Grant Morrison (1960) writer

2004
https://web.archive.org/web/20040803001942/http://www.popimage.com/content/grant20044.html Popimage interview
On comics

Boy, Business, Success

“The Hunger Games is a reality television program. An extreme one, but that's what it is. And while I think some of those shows can succeed on different levels, there's also the voyeuristic thrill, watching people being humiliated or brought to tears or suffering physically. And that's what I find very disturbing. There's this potential for desensitizing the audience so that when they see real tragedy playing out on the news, it doesn't have the impact it should. It all just blurs into one program. And I think it's very important not just for young people, but for adults to make sure they're making the distinction. Because the young soldier's dying in the war in Iraq, it's not going to end at the commercial break. It's not something fabricated, it's not a game. It's your life.”

Suzanne Collins (1962) American television writer and novelist

Q&A with Hunger Games Author Suzanne Collins, July 31, 2013, Hannah Trierweiler Hudson, Scholastic.com http://www.scholastic.com/teachers/article/qa-hunger-games-author-suzanne-collins,

Life, Hunger, War, People

“As an actor in Iceland, I found good training and colleagues in the National Theatre, and none of us could have predicted the kind of fame that LazyTown found globally. When you are an actor or do anything in the arts for a career, your life will take many unexpected twists and turns.Robbie was a product of many years of thinking and doing. What you see in the TV show is different from his first personality. One of the big challenges playing a part like Robbie is bringing the right kind of energy. You don't want to scare the littlest viewers but you have to bring a certain villain personality with humor.As many actors have said before me, being famous or well known can be nice or it can be a burden, it all depends on how you look at it. I love my fans - they have come along on this ride with me and have said too many nice things for me to ever count. I am grateful.There is no difference in preparing for Robbie Rotten or any classical serious role…. Every part you prepare for you have to be honest and truthful and wholly believe that the character exists – otherwise no one will accept your acting. Kids are a demanding audience and they KNOW when something is untruthful.”

Stefán Karl Stefánsson (1975–2018) Icelandic actor

Reddit AMA https://www.reddit.com/r/IAmA/comments/57bkxj/i_am_stefan_karl_robbie_rotten_from_lazytown_and/ (13 October 2016)

Love, Life, Truth, Art

“The sponsor of an hour's television program is not buying merely the six minutes devoted to commercial message. He is determining, within broad limits, the sum total of the impact of the entire hour. If he always, invariably, reaches for the largest possible audience, then this process of insulation, of escape from reality, will continue to be massively financed, and its apologist will continue to make winsome speeches about giving the public what it wants, or "letting the public decide."”

Edward R. Murrow (1908–1965) Television journalist

RTNDA Convention Speech (1958)

Reality

“Comedy is filled with surprise, so when I cross a line… I like to find out where the line might be and then cross it deliberately, and then make the audience happy about crossing the line with me.”

George Carlin (1937–2008) American stand-up comedian

The Onion A.V. Club, November 10, 1999 http://www.avclub.com/articles/george-carlin,13629/ Interviews, Print Interviews

Happiness

Northrop Frye (1912–1991) Canadian literary critic and literary theorist

"Quotes", Anatomy of Criticism: Four Essays (1957), Mythical Phase: Symbol as Archetype

People, Art, Light, Time

“Someone should put together a ballet under the title Guantanamo, Guantanamo! A corps of prisoners, their ankles shackled together, thick felt mittens on their hands, muffs over their ears, black hoods over their heads, do the dances of the persecuted and the desperate. Around them, guards in olive green uniforms prance with demonic energy and glee, cattle prods and billy-clubs at the ready. They touch the prisoners with the prods and the prisoners leap; they wrestle prisoners to the ground and shove the clubs up their anuses and the prisoners go into spasms. In a corner, a man on stilts in a Donald Rumsfeld mask alternately writes at his lectern and dances ecstatic little jigs.
One day it will be done, though not by me. It may even be a hit in London and Berlin and New York. It will have absolutely no effect on the people it targets, who could not care less what ballet audiences think of them.”

J.M. Coetzee book Diary of a Bad Year

Diary of a Bad Year (2007)

People, Thinking, Dance

“The politician is much nearer in type to the barrister and advocate than to the scientist…The advocate and the politician are more interested in persuasion than in proof. They have a client or a policy to defend. The political audience is not dishonest in itself, nor does it desire or approve dishonesty or misrepresentation in others, but it is an audience only imperfectly prepared to follow a close argument, and the speaker wishes to make a favourable impression, to secure support for a policy. It is easy to see how this may lead to the depreciation of the verbal currency and to the circulation of promises which cannot be cashed.”

Stanley Baldwin (1867–1947) Former Prime Minister of the United Kingdom

Speech at his inauguration as Lord Rector of The University of Edinburgh (6 November 1925), quoted in On England, and Other Addresses (1926), pp. 89-90.
1925

Support

“Long ago, some 12 or 13 years before Partition, I had a chance to pass by a meeting of Muslims in Delhi. The chaste Urdu and the weighty voice of the man making the speech at the moment, made me stand and stare. It was a bearded mullah wearing a fez. He was narrating some history which was new for me. The mullah mentioned several dates on which some decisive battles had been fought and won by the armies of Islam. …There were repeated references to swords and spears and horses and hoofs and countless clashes in which human blood had flowed copiously. In between, some one from the audience stood up and shouted ‘nãra-i-takbîr’. And the whole assembly roared back Allãh-o-Akbar with full-throated frenzy. Then the speaker moved to Sind and Hind. …And then, all of a sudden, the mullah’s voice sank and became almost a whimper. His face too must have fallen, though I could not see it from the distance at which I was standing. He was now telling, in very mournful tones, how Islam had failed to fulfil its mission in this ‘kambakht (unfortunate) mulk (country)’ which was still crawling with kufr (infidelism) in spite of all those arduous endeavours undertaken by the heroes of Islam. A funeral silence fell on the audience, and no one now stood up any more to invite another nãra-i-takbîr.”

Sita Ram Goel (1921–2003) Indian activist

Muslim Separatism – Causes and Consequences (1987)

History, Decision, Silence, Chance

“Most persons with an autism-spectrum disorder have never expressed their opinions on someone’s blog and never will. The neurodiverse often reach a vulnerable audience, as many persons on the spectrum have low self-esteem. Neurodiversity provides a tempting escape valve.”

Jonathan Mitchell (1955) American writer and activist

Neurodiversity: Just Say No

Personality

“To some extent, of course, we're all impostors—we all play roles when on the stage of life, presenting a different public self than the private self we share with intimates, and morphing both selves as circumstances demand. Displaying a facade and misleading our audience are defensive behaviors learned early.”

Manfred F.R. Kets de Vries (1942) Dutch academic

Source: The Leader on the Couch, 2011, p. 16

Life, Behavior, Learning

“One of the biggest box-office successes in movie history — probably because for young audiences it's like getting a box of Cracker Jack that is all prizes. Written and directed by George Lucas, the film is enjoyable in its own terms, but it's exhausting, too: like taking a pack of kids to the circus. There's no breather in the picture, no lyricism; the only attempt at beauty is in the image of a double sunset. The loudness, the smash-and-grab editing, and the relentless pacing drive every idea out of your head, and even if you've been entertained, you may feel cheated of some dimension — a sense of wonder, perhaps. It's an epic without a dream.”

Pauline Kael (1919–2001) American film critic

"Star Wars," p. 714.
5001 Nights at the Movies (1982)

Beauty, Dreams, Feeling, History

“I tried. I tried so hard to empathize with all of your weaknesses. I implored every single one of you to just say "no," and all my empathy got was for you to love Jeff Hardy that much more than you already did. But this will not deter me. I will stay the course; I still believe in teaching you people the difference between right and wrong. (Audience chants "Hardy!") Oh, obviously it's gonna be challenging, listening to you people, and by the looks of some of you, it's gonna be a big challenge. But just like any other challenge that's come down the pipe in my lifetime, I'm gonna meet that challenge head on like a man, just like I did last week. Let's take a look. (Recap of Punk's assault on Hardy) See, now I know why you people love Jeff Hardy so much. It's because you are all just like him; and, in turn, Jeff Hardy is just like all of you. The reality is, none of you have the strength to be straight-edge. (Audience resumes chant) You gravitate towards Jeff because it's the easy way out: it's easier to weak like Jeff, because you sure can't be strong like me. Oh, you can boo all you want. I know why you boo, you know why you boo. It's because I tell the truth. And the truth sometimes hurts, doesn't it? For instance, what does it say on your prescription bottle of pills? "Take one every four hours"? Well, don't tell me you people don't gobble four, six, eight at a time like they were Pez. That is drug abuse—I don't do that. I also don't smoke, and those who do are stupid. You gotta be stupid to not listen to the Surgeon General, especially when he prints the warning label on the package of smokes. You gotta be a fool. And we can talk about those funny cigarettes, and you obviously know what I'm talking about because you cheer, and that's utterly sad. That's pathetic. I…I can't even wrap my head around you people cheering, 'cause when you smoke those funny cigarettes, not only is that hazardous to your health, it's also illegal. So those who have taken a puff, not only are you poisoning yourself, you're also breaking the law, so the vast majority of everybody here in this arena is a criminal. I am not a criminal—I never have been, and I never will be. Now let's talk about alcohol. I've saved the best poison for last, see because this is a gateway drug. Don't tell me not a single one of you here has ever said, "I'm gonna go out for one drink," and one leads to two, and two drinks leads to three, and then it's a double of this, and a shot of that, and then your head winds up in the toilet, night in and night out. Congratulations, that is alcoholism. And in my book, if you even take one drink, you're an alcoholic. So I understand why you people love Jeff Hardy so much, I understand why Jeff loves you—it's because you're all weak. Whether you like it or not, whether you know it or not, you deserve better. This entire world deserves better. What you need is a leader. You need a strong leader who's gonna stand up in the face of adversity and just say "no."”

Phil Brooks (1978) American professional wrestler and mixed martial artist

You need a strong leader that's gonna carry the banner of the World Heavyweight Championship with honor, with pride, respect, dignity, integrity, and class. What you people need is a straight-edge World Heavyweight Champion. You need CM Punk.
August 7, 2009
Friday Night SmackDown

Love, People, Health, Alcohol

“I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way.”

Rachel Whiteread (1963) British sculptor

Rachel Whiteread, " Kisses for Spiderwoman http://www.theguardian.com/artanddesign/2007/oct/14/art2," The Guardian, 14 Oct. 2007: on Louise Bourgeois

Women, People, Art, Way

“The movie delights me with its cocky confidence that the audience can keep up. Primer is a film for nerds, geeks, brainiacs, Academic Decathlon winners, programmers, philosophers and the kinds of people who have made it this far into the review. It will surely be hated by those who 'go to the movies to be entertained', and embraced and debated by others, who will find it entertains the parts the others do not reach.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/primer-2004 of Primer (29 October 2004) Reviews, Three-and-a-half star reviews

Hate, People, Confidence, Parting

“In 1982, the main problems were getting something out in front of the public and then figuring out how to sell it. Today, it is much easier to solve the mechanical problems of self-publishing and to reach an audience, but the fact that it’s easier creates another problem: how can you be heard above all the noise? The mass of information that is available today, through film, television, books, magazines, newspapers, and the Internet is really intimidating.”

John R. Erickson (1942) American author

John R. Erickson on the discipline of writing, the world of publishing, and (of course) dogs http://www.lonestarliterary.com/john-r.-erickson-061415.html (June 14, 2015)

Books, Problem

“The audience I joined was perhaps 80 percent female. I heard some sniffles and glimpsed some tears, and no wonder. Eat Pray Love is shameless wish-fulfillment, a Harlequin novel crossed with a mystic travelogue, and it mercifully reverses the life chronology of many people, which is Love Pray Eat.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/eat-pray-love-2010 of Eat Pray Love (11 Aug 2010) Reviews, Two star reviews

Love, Life, People, Tear

“I am writing definitely primarily for an audience who don’t know India.”

William Dalrymple (1965) author and historian

In Amrita Ghosh, "Author in Focus: An Interview with Dalrymple".

“One of the reasons I enjoy going to the Opera is the spectacle of an audience enraptured. Their emotions are engaged, their passions brought to the fore, they become highly sensitive.”

Derren Brown (1971) British illusionist

TV Series and Specials (Includes DVDs), Mind Control (1999–2000) or Inside Your Mind on DVD

Passion

“What does an instinctively popular poet do in contemporary America, where serious poetry is no longer a popular art? The public whose values and sensibility he celebrates is unaware of his existence. Indeed, even if they were aware of his poetry, they would feel no need to approach it. Cut off from his proper audience, this poet feels little sympathy with the specialized minority readership that now sustains poetry either as a highly sophisticated verbal game or secular religion. His sensibility shows little similarity to theirs except for the common interest in poetry. And so the popular poet usually leads a marginal existence in literary life. His fellow poets look on him as an anomaly or an anachronism. Reviewers find him eminently unnewsworthy. Publishers see little prestige attached to printing his work. Critics, who have been trained to celebrate complexity, consider him an amiable simpleton.”

Dana Gioia (1950) American writer

"The Anonymity of the Regional Poet: Ted Kooser" http://www.danagioia.net/essays/ekooser.htm, from Can Poetry Matter? Essays on Poetry and American Culture (1992) Essays

Life, Religion, Art, Feeling

“Yet Moore is a silly and shady man who does not recognize courage of any sort even when he sees it because he cannot summon it in himself. To him, easy applause, in front of credulous audiences, is everything … If Michael Moore had had his way, Slobodan Milosevic would still be the big man in a starved and tyrannical Serbia. Bosnia and Kosovo would have been cleansed and annexed. If Michael Moore had been listened to, Afghanistan would still be under Taliban rule, and Kuwait would have remained part of Iraq. And Iraq itself would still be the personal property of a psychopathic crime family, bargaining covertly with the slave state of North Korea for WMD. You might hope that a retrospective awareness of this kind would induce a little modesty. To the contrary, it is employed to pump air into one of the great sagging blimps of our sorry, mediocre, celeb-rotten culture.”

Christopher Hitchens (1949–2011) British American author and journalist

2004-06-21
Unfairenheit 9/11
Slate
1091-2339
http://www.slate.com/articles/news_and_politics/fighting_words/2004/06/unfairenheit_911.html: On Michael Moore
2000s, 2004

Family, Hope, Way, Courage

“Equally up to the task was baritone Vytautas Juozapaitis who's tortured characterization of Rigoletto was near flawless, strong and acted with intelligence and emotional depth. Mr. Juozapaitis has a full baritone that displays nice range and clarity, and coupled with the ease with which he commanded the stage, provided just the right measure of appeal that communicated to the audience the conflict and suppressed rage the character, no doubt, felt toward those who used and mocked him. Nicely done!”

Vytautas Juozapaitis (1963) Lithuanian opera singer

Paul Walkovski, "If the rest of the season matches this production in artistic quality, it's going to be one hell of a good season for opera in Boston". operaonline.us (October, 2006) http://www.jennykellyproductions.com/prod_teatro_review_rigoletto.htm

Intelligence, Communication, Strong, Rage

“I think more audiences would like contemporary music if they were presented with it, told about it. It's just a matter of familiarity, I think. Then one begins to look back at old music as stuffy, or even tiresome. It's funny -- I'm beginning to like older music more than I used to, but it's like I'm going into a museum and contemplating a Rembrandt. It just feels like its part of the aristocratic class system of kings and queens and dukes which just doesn't exist anymore.”

Elliott Carter (1908–2012) American composer

From American Gothic: An Interview with Elliott Carter http://edwebproject.org/carter.html (1993) by Andy Carvin.

Music, Feeling, Thinking, Parting

“When I did TV shows and movies, the studios did demographic research. They were shocked to find that my audience isn't just men who are too drunk to turn off the TV after football. It's women, too. I don't know exactly why, other than that I've tried to remain true to myself for all these years. I have gone through a lot, and I've been open about it. Maybe they look at me and can see how you can grow up, have children, continue to be sexy, get married and divorced and, though you grew up poor, live the American dream. I'm very blessed. I'm happy for it all.”

Pamela Anderson (1967) Canadian-American model, producer, author, former showgirl

Playboy, May 2004.

Women, Men, Children, Dreams

“The audience usually has to be with you, I'm afraid. I always regarded myself as not even preaching to the converted, I was titillating the converted.
The audiences like to think that satire is doing something. But, in fact, it is mostly to leave themselves satisfied. Satisfied rather than angry, which is what they should be.”

Tom Lehrer (1928) American singer-songwriter and mathematician

Sydney Morning Herald interview (2003)

Thinking

“The Mozart Festival Opera's production of Don Giovanni made the three hours fly. The miming between Stefano de Peppo and Vytautas Juozapaitis as Don Giovanni was great physical comedy that had the audience laughing out loud. Juozapaitis possessed the voice, swagger and stage presence to match and dominate Leporello, and his costumes are among the best I've seen. I think Mozart would have approved.”

Vytautas Juozapaitis (1963) Lithuanian opera singer

Christopher Hyde, "Mozart would have approved", Portland Press Herald (March, 2005) http://www.jennykellyproductions.com/prod_mozart_review.htm

Thinking, Flying

“I want to tell you why I did this. My mother was the first one to tell me about the Statue of Liberty. She saw at first from the deck of the ship that brought her to America: she was an immigrant. She impressed upon me how precious our liberty is and how easily it can be lost. And then one day it occurred to me that I could show with magic how we take our freedom for granted. Sometimes we don't realize how important something is until it's gone. So I asked our government for permission to let me make the Statue of Liberty disappear… just for a few minutes. I thought that if we faced emptiness where, for as long as we can remember, that great lady is, lifted up our land, why then… we might imagine what the world would be like without liberty and we realize how precious our freedom really is. And then I will make the Statue of Liberty reappear, by remembering the world that made it appear in the first place. The world is freedom. Freedom is the true magic. It's beyond the power of any magician. But wherever one human being guarantees another the same rights he or she enjoys, we find freedom. [The curtain between the live audience and the Statue of Liberty used to hide the secret of its disappearance is raised] How long can we stay free? But just as long as we keep thinking, and speaking, and acting as free human beings. Our ancestors just couldn’t. We can. And I will show you the way. Nooooow!”

David Copperfield (1956) American illusionist

The curtain is lowered and the Statue of Liberty reappears
From "The Magic of David Copperfield V: The Statue of Liberty Disappears" (April 8th, 1983)

Secret, World, Way, Imagination

“Mass propaganda discovered that its audience was ready at all times to believe the worst, no matter how absurd, and did not particularly object to being deceived because it held every statement to be a lie anyhow. The totalitarian mass leaders based their propaganda on the correct psychological assumption that, under such conditions, one could make people believe the most fantastic statements one day, and trust if the next day they were given irrefutable proof of their falsehood, they would take refuge in cynicism; instead of deserting the leaders who had lied to them, they would protest that they had known all along the statement was a lie and would admire the leaders for their superior tactical cleverness.”

Hannah Arendt book The Origins of Totalitarianism

Part 3, Ch. 2 The Totalitarian Movement, page 80 https://books.google.de/books?id=I0pVKCVM4TQC&pg=PT104&dq=A+mixture+of+gullibility+and+cynicism+had+been+an+outstanding+characteristic+of+mob+mentality+before+it+became+an+everyday+phenomenon+of+masses.&hl=de&sa=X&redir_esc=y#v=onepage&q=A%20mixture%20of%20gullibility%20and%20cynicism%20had%20been%20an%20outstanding%20characteristic%20of%20mob%20mentality%20before%20it%20became%20an%20everyday%20phenomenon%20of%20masses.&f=false The Origins of Totalitarianism (1951) Context: A mixture of gullibility and cynicism had been an outstanding characteristic of mob mentality before it became an everyday phenomenon of masses. In an ever-changing, incomprehensible, world the masses had reached the point where they would, at the same time, believe everything and nothing, think that everything is possible and that nothing was true. The mixture in itself was remarkable enough, because it spelled the end of the illusion that gullibility was a weakness of unsuspecting primitive souls and cynism the vice of superior and refined minds. Mass propaganda discovered that its audience was ready at all times to believe the worst, no matter how absurd, and did not particularly object to being deceived because it held every statement to be a lie anyhow. The totalitarian mass leaders based their propaganda on the correct psychological assumption that, under such conditions, one could make people believe the most fantastic statements one day, and trust if the next day they were given irrefutable proof of their falsehood, they would take refuge in cynicism; instead of deserting the leaders who had lied to them, they would protest that they had known all along the statement was a lie and would admire the leaders for their superior tactical cleverness.

People, Lie, Time

“The very early days of Pink Floyd were magical. We played small auditoriums for entranced audiences, and there was a wonderful sense of communion. We got overpowered by the weight of success and numbers — not just the money but the size of the audience. I became very disenchanted. I had to make the choice of staying on the treadmill or making the braver decision to travel a more difficult path alone.”

Roger Waters (1943) English songwriter, bassist, and lyricist of Pink Floyd

USA Today, 1999
Philosophy

Money, Travel, Decision, Sense

“I do like movies that take a toll on the audience. I want to work the subconscious. I want to involve you in ways in which you might not necessarily want to get involved. I want to play off those things that you're expecting to get when the lights go down and the 20th Century Fox logo comes up. There's an audience expectation and I'm interested in how movies play with--and off--that expectation. That's what I'm interested in.”

David Fincher (1962) American film director

Fightin Words (1999)

Way, Light

“To have a crowd like this on our final day, can you believe it, this is the day. This is the day we take our country back. Remember that. This is the day we take our country back. So I got a little notice in case you see it. It's security guys. We have wonderful security guys. They said, "Mr. Trump, there may be somebody with tomatoes in the audience." So if you see somebody getting ready to throw a tomato, knock the crap out of them, would you? Seriously… Okay? Just knock the hell… I promise you I will pay for the legal fees, I promise. I promise. There won't be so much cause the courts agree with us too. What's going on in this country.”

Donald J. Trump (1946) 45th President of the United States of America

At a rally in Cedar Rapids, Iowa. https://www.washingtonpost.com/video/politics/trump-knock-the-crap-out-of-tomato-throwers/2016/02/01/1d1fe1e2-c92b-11e5-b9ab-26591104bb19_video.html (1 February 2016) 2010s, 2016, February

Guy, Hell, Country

“If we regard Iran as a nation, there is no reason it shouldn’t have correct relations with the United States or any other country. Decades of opinion polls show that a majority of Iranians have a good opinion of America. But Iran today suffers from a split personality: It is both a nation and, as the Islamic Republic, also a messianic cause. And the Islamic Republic of Iran, far from being part of the solution, is at the root of the conflict tearing the Middle East apart. It has built Shiite militias in Lebanon, Syria and Iraq, not to mention Afghanistan, with the aim of “exporting” its Khomeinist ideology. The mullahs’ quest for an empire has provoked violent reaction from Sunni Arabs and enabled terrorist outfits such as al Qaeda in its many versions, including ISIS, to find a new audience and a narrative of victimhood. As long as Iran remains a “cause,” it can’t normalize relations with anybody, let alone America. Coexistence among nations is not the same as that among causes.”

Amir Taheri (1942) Iranian journalist

"Have the Mullah's Abandoned their Dreams of Empire?", Elaph.com, (November 16, 2014).

Tear, Suffering, Parting, Personality

“If you’re gonna take the audience on a life long ride, you’ve got to allow them to become intimate with you. If they’re not intimate, they’re never gonna know you.”

Blackie Lawless (1956) musician, songwriter and actor

KNAC Interview in 2002

Life

“They're taking shortcuts to get a big laugh instead of working for their audience. They can finish a show, hang up their tux and shirt, and put it up for next time. With mine, you have to wring out the sweat and send it to the cleaners. You gotta go out and work for your audience.”

Red Skelton (1913–1997) American comedian

Time

“You know I can get away with murder. The audience loves me.”

Peter Lorre (1904–1964) Austrian actor

Love

“The theatre is not the place for the musician. When the curtain is up the music interrupts the actor, and when it is down the music interrupts the audience.”

Arthur Sullivan (1842–1900) English composer of the Gilbert & Sullivan duo

Quoted in The Musical Times, February 1909; cited from Percy A. Scholes The Mirror of Music, 1844-1944 (London: Novello, 1947) vol. 1, p. 267.

Music

“Laughter is the greatest music in the world and audiences come to my shows to escape the cares of life. They don't want to be embarrassed or insulted. They want to laugh and so do I - which is probably why it works.”

Ken Dodd (1927–2018) English comedian, singer-songwriter and actor

Quoted in Manchester Evening News, http://www.manchestereveningnews.co.uk/entertainment/comedy/s/234/234894_dodds_bolton_bonus.htmlDodd's Bolton bonus, Natalie Anglesey. (2008-04-28)

Life, World, Music, Laughter

“Music so wishes to be heard that sometimes it calls on unlikely characters to give it voice, and ears. This wishing-to-be heard calls into existence the Performance Event; where music, musician and audience may come together as one, in communion. This communion has six different forms of being and experiencing itself (plus an invisible seventh); and these forms, or principles, are simultaneously present within the Performance.
I - When people get together with music, something happens.
II - In a performance, things come together, mysteriously; and go better than we might anticipate; and better than we deserve.
III - A performance can take on a life and character of its own.
IV - Any one performance is a multiplicity of performances.
V - The possible is possible.
VI - The impossible is possible.
The Seventh Principle resides within Silence.
Trust the event.”

Robert Fripp (1946) English guitarist, composer and record producer

The Six Principles of the Performance Event

Life, People, Music, Silence

“We'd seen all the rushes, which we thought very funny, but the premiere audience reaction was cold and so were the reviews. However, the moment it was released it made audiences everywhere laugh like anything, and it showed that our original reaction had been right. What a relief!”

Fenella Fielding (1927–2018) English actress

Of her film Carry on Screaming http://www.allthingshorror.co.uk/#/fenella-fielding/4529104641

“So I was watching this one show where - there's a guy on stage and he pretends he has contact with the dead and spirits talk to him…[Some people in the audience give suggestions, one of which is Crossing Over. ] Crossing–…no, no, no, no, no, it was, uh, church. It was church.”

David Cross (1964) American comedian, writer and actor

It's Not Funny

People, Guy, Dead

“Art is not like other culture because its success is not made by its audience. The public fill concert halls and cinemas everyday, we read novels by the millions, and buy records by the billions. 'We the people' affect the making and quality of most of our culture, but not our art.”

Banksy pseudonymous England-based graffiti artist, political activist, and painter

Wall and Piece (2007)

People, Art, Reading, Success

“The news departments have become corporate profit centers. And their only obligation now is to their shareholders. Which is to create large audiences and viewership so they can sell more ad space. So they're airing stories that appeal to the prurient interests that all of us have in the reptilian core of our brain: for sex and celebrity gossip. And now, for terror. So they give us Kobe Bryant and they give us Michael Jackson. And they give us Laci Peterson and they give us lots and lots of terror alerts. But they're not telling us the really critical stories that impact our way of life.”

Robert Francis Kennedy, Jr. (1954) American activist

Real Time with Bill Maher (22 October 2004).

Life, Sex, Way

“.. whatever may have been the style and title, the sovereign ruler was there, and accordingly the court established itself at once with all its due accompaniments of pomp, insipidity, and emptiness. Caesar appeared in public not in the robe of the consuls which was bordered with purple stripes, but in the robe wholly of purple which was reckoned in antiquity as the proper regal attire, and received, sitting on his golden chair and without rising from it, the solemn procession of the senate. The festivals in his honour commemorative of birthday, of victories, and of vows, filled the calendar. When Caesar came to the capital, his principal servants marched forth in trips to great distances so as to meet and escort him. To be near to him began to be of such importance, that the rents rose in the quarter of the city where he lived. Personal interviews with him were rendered so difficult by the multitude of individuals soliciting audience, that Caesar found himself compelled in many cases to communicate even with his intimate friends in writing, and that persons even of the highest rank had to wait for hours in the ante-chamber. People felt, more clearly than was agreeable to Caesar himself, that they no longer approached a fellow-citizen. There arose a monarchical aristocracy, which was a remarkable manner at once new and old, and which had sprung out of the idea of casting into the shade the aristocracy of the oligarchy by that of the royalty, the nobility of the patriciate. The patrician body still subsisted, although without essential privileges as an order, in the character of a close aristocratic guild; but as it could receive no new gentes it had dwindled away more and more in the course of centuries, and in Caesar's time there were not more than fifteen or sixteen patrician gentes still in existence. Caesar, himself sprung from one of them, got the right of creating new patrician gentes conferred on the Imperator by decree of the people, and so established, in contrast to the republican nobility, the new aristocracy of the patriciate, which most happily combined all the requisites of a monarchichal aristocracy - the charm of antiquity, entire dependence on the government, and total insignificance. On all sides the new sovereignty revealed itself.”

Theodor Mommsen (1817–1903) German classical scholar, historian, jurist, journalist, politician, archaeologist and writer

Vol. 4, Part 2. Translated by W.P. Dickson.
The New Court.
The History of Rome - Volume 4: Part 2

People, Communication, Idea, Birthday

“I want a poetry that can learn as much from popular culture as from serious culture. A poetry that seeks the pleasure and emotionality of the popular arts without losing the precision, concentration, and depth that characterize high art. I want a literature that addresses a diverse audience distinguished for its intelligence, curiosity, and imagination rather than its professional credentials. I want a poetry that risks speaking to the fullness of our humanity, to our emotions as well as to our intellect, to our senses as well as our imagination and intuition. Finally I hope for a more sensual and physical art — closer to music, film, and painting than to philosophy or literary theory. Contemporary American literary culture has privileged the mind over the body. The soul has become embarrassed by the senses. Responding to poetry has become an exercise mainly in interpretation and analysis. Although poetry contains some of the most complex and sophisticated perceptions ever written down, it remains an essentially physical art tied to our senses of sound and sight. Yet, contemporary literary criticism consistently ignores the sheer sensuality of poetry and devotes its considerable energy to abstracting it into pure intellectualization. Intelligence is an irreplaceable element of poetry, but it needs to be vividly embodied in the physicality of language. We must — as artists, critics, and teachers — reclaim the essential sensuality of poetry. The art does not belong to apes or angels, but to us. We deserve art that speaks to us as complete human beings. Why settle for anything less?”

Dana Gioia (1950) American writer

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

Pleasure, Hope, Art, Music

“A novelist may lose his readers for a few pages; a playwright never dares lose his audience for a minute.”

Terence Rattigan (1911–1977) playwright, screenwriter

The New York Journal-American, October 29, 1956.

“GG Allin: I've seen people in my audience leave with broken bones, broken arms. I've seen them leave on strechers. I've seen rapes before me.”

GG Allin (1956–1993) American singer-songwriter

GG Allin on The Jerry Springer Show, May 5. 1993.
On The Jerry Springer Show

People

“I'm not the kind of actor to worry. Certain actors can't translate to the big screen, so I'm glad I can do both. If 60% of an audience know your name, a lot more will know your face. I have a name which has a certain level of recognition now, which also means producers and directors know me, and are able to recognise the range of things that I can do.”

Robert Davi (1953) American actor and jazz singer

Robert Davi Interview http://hereward.org.uk/index.php/reviews/39-interviews-v15-39/245-robert-davi-v15-24 (February 22, 2008)

“When you are writing before there is an audience anything written is as important as any other thing and you cherish anything and everything that you have written. After the audience begins, naturally they create something that is they create you, and so not everything is so important, something is more important than another thing.”

Gertrude Stein (1874–1946) American art collector and experimental writer of novels, poetry and plays

What Are Masterpieces and Why Are There So Few of Them (1936)

Nature

“At the movies, we are gradually being conditioned to accept violence as a sensual pleasure. The directors used to say they were showing us its real face and how ugly it was in order to sensitize us to its horrors. You don't have to be very keen to see that they are now in fact desensitizing us. They are saying that everyone is brutal, and the heroes must be as brutal as the villains or they turn into fools. There seems to be an assumption that if you're offended by movie brutality, you are somehow playing into the hands of the people who want censorship. But this would deny those of us who don't believe in censorship the use of the only counterbalance: the freedom of the press to say that there's anything conceivably damaging in these films — the freedom to analyze their implications. If we don't use this critical freedom, we are implicitly saying that no brutality is too much for us — that only squares and people who believe in censorship are concerned with brutality. Actually, those who believe in censorship are primarily concerned with sex, and they generally worry about violence only when it's eroticized. This means that practically no one raises the issue of the possible cumulative effects of movie brutality. Yet surely, when night after night atrocities are served up to us as entertainment, it's worth some anxiety. We become clockwork oranges if we accept all this pop culture without asking what's in it. How can people go on talking about the dazzling brilliance of movies and not notice that the directors are sucking up to the thugs in the audience?”

Pauline Kael book Deeper into Movies

"Stanley Strangelove" (January 1972) http://www.visual-memory.co.uk/amk/doc/0051.html, review of A Clockwork Orange Deeper into Movies (1973)

People, Pleasure, Fools, Sex

“I think we all thought the show would be good, but I didn't ever assume it would catch on in a mass audience sort of way, that's unexpected, and we're flattered and relieved. Our characters act silly, even totally ridiculous at times, and most of our jokes don't come out of pop cultural references, he added. It seems like we're aiming at a child audience, but everyone can laugh at the basic human traits that are funny. It's playful, the humor is playful, the world is playful. You can kind of let go.”

Stephen Hillenburg (1961–2018) American marine biologist, cartoonist, animator, storyboard artist, director, producer, and writer

FOR YOUNG VIEWERS; For This Scientist, Children Are Like, er, Sponges http://www.nytimes.com/2001/07/29/tv/for-young-viewers-for-this-scientist-children-are-like-er-sponges.html (July 29, 2001)

World, Way, Thinking, Time

“A scene that has often come into my mind, both sleeping and waking — I am standing in the wings of a theatre waiting for my cue to go onstage. As I stand there I can hear the play proceeding, and suddenly it dawns on me that the lines I have learnt are not in this play at all, but belong to quite a different one. Panic seizes me; I wonder frenziedly what should I do. Then I get my cue. Stumbling, falling over the unfamiliar scenery, I make my way onto the stage, and then look for guidance to the prompter, whose head I can just see rising out of the floor-boards. Alas he only signals helplessly to me and I realise of course that his script is different from mine. I begin to speak my lines, but they are incomprehensible to the other actors and abhorrent to the audience, who begin to hiss and shout: “Get off the stage!”, “Let the play go on!”, “You’re interrupting!””

Malcolm Muggeridge (1903–1990) English journalist, author, media personality, and satirist

I am paralysed and can think of nothing to do but to go on standing there and speaking my lines that don’t fit. The only lines I know.
Chronicles of Wasted Time: The Green Stick (1972)

Way, Thinking, Sleep, Waiting

“Naturally, the next question was: “How accurate is the nuclear data you used in your calculation?” As only Edward Teller is capable of doing, he replied, with a smirk-smile going from ear to ear: “Well, it’s possible that the data might be off by a factor of ten.” Which way, he didn’t profess to know, but I suspect that much of the audience didn’t sleep too well that night. (If you’re beginning to worry that you might not be sleeping too well from now on, I have to tell you that as it turned out, after careful nuclear measurements and detailed calculations were made, we were safe by far more than a factor of ten. It simply couldn’t happen.)”

Samuel T. Cohen (1921–2010) American physicist

F*** You! Mr. President: Confessions of the Father of the Neutron Bomb (2006)

Smile, Way, Question, Nature

“The theatre was full — crammed to its roof: royal and noble were there; palace and hotel had emptied their inmates into those tiers so thronged and so hushed. Deeply did I feel myself privileged in having a place before that stage; I longed to see a being of whose powers I had heard reports which made me conceive peculiar anticipations. I wondered if she would justify her renown: with strange curiosity, with feelings severe and austere, yet of riveted interest, I waited. She was a study of such nature as had not encountered my eyes yet: a great and new planet she was: but in what shape? I waited her rising.She rose at nine that December night: above the horizon I saw her come. She could shine yet with pale grandeur and steady might; but that star verged already on its judgment-day. Seen near, it was a chaos — hollow, half-consumed: an orb perished or perishing — half lava, half glow.I had heard this woman termed "plain," and I expected bony harshness and grimness — something large, angular, sallow. What I saw was the shadow of a royal Vashti: a queen, fair as the day once, turned pale now like twilight, and wasted like wax in flame.For awhile — a long while — I thought it was only a woman, though an unique woman, who moved in might and grace before this multitude. By-and-by I recognized my mistake. Behold! I found upon her something neither of woman nor of man: in each of her eyes sat a devil. These evil forces bore her through the tragedy, kept up her feeble strength — for she was but a frail creature; and as the action rose and the stir deepened, how wildly they shook her with their passions of the pit! They wrote HELL on her straight, haughty brow. They tuned her voice to the note of torment. They writhed her regal face to a demoniac mask. Hate and Murder and Madness incarnate she stood.It was a marvellous sight: a mighty revelation.It was a spectacle low, horrible, immoral.Swordsmen thrust through, and dying in their blood on the arena sand; bulls goring horses disembowelled, made a meeker vision for the public — a milder condiment for a people's palate — than Vashti torn by seven devils: devils which cried sore and rent the tenement they haunted, but still refused to be exorcised.Suffering had struck that stage empress; and she stood before her audience neither yielding to, nor enduring, nor in finite measure, resenting it: she stood locked in struggle, rigid in resistance. She stood, not dressed, but draped in pale antique folds, long and regular like sculpture. A background and entourage and flooring of deepest crimson threw her out, white like alabaster — like silver: rather, be it said, like Death.”

Charlotte Brontë book Villette

Source: Villette (1853), Ch. XXIII: Vashi

Death, Hate, People, Feeling

“Engvall is in an office elevator going up.
friend: Excuse me, are these the elevators that go up?
Engvall: No, these go side to side. The up ones are down the hall. (to audience) HE WALKED AWAY!”

Bill Engvall (1957) American comedian and actor

Here's Your Sign: Live! (2004)
Here's Your Sign

“Sometimes, I ask one, two, or more people just to sit in the audience and to listen to me with concentration as I play. It’s stimulating for me, and I try to build up a situation like that in a recital with a live audience. This helps me to play in a way that electrifies people.”

Burkard Schliessmann classical pianist

Talkings on the audience and studio recordings

People, Way, Help

“The ceremony took only a minute or so because Archie insisted on getting it over with quickly before anyone knew what was going on. The less drama, the better. Don't let Obie and Carter build it up. Thus, before any protest could be made, Archie had shot out his hand and pulled a marble from the box. White. Obie's jaw dropped in surprise. Things were moving too fast. He'd wanted Archie to squirm; he'd wanted the audience to realize what was going on here. He'd wanted to prolong the ceremony, to get as much of the drama and suspense out of the situation as possible. Archie's hand shot out again and it was too late for Obie to prevent the action. He drew in his breath. The marble was hidden in Archie's closed fist. He held the fist out, toward the audience. Archie held his back stiff. The marble had to be white. He hadn't come this far to be denied at the last moment. He let a smile play over his lips as he faced the audience, gambling everything in his show of confidence. He opened his palm and held up the marble for all to see. White.”

Robert Cormier book The Chocolate War

Source: The Chocolate War (1974), p. 245-246

Smile, Confidence, Box

“[referring to a suggestive comment aimed at the audience] You too, ladies.”

Craig Ferguson (1962) Scottish-born American television host, stand-up comedian, writer, actor, director, author, producer and voice a…

citation needed
The Late Late Show with Craig Ferguson (2005–2014), Commonly repeated

“Science, in broad outline, can be divided into three parts: the study of the vast, the study of the tiny, and the study of life which… acts as audience to both the vast and the tiny.”

Theodore Roszak (1933–2011) American social historian, social critic, writer

Source: The Gendered Atom: Reflections on the Sexual Psychology of Science (1999), Ch.9 Deep Community

Life, Study, Science, Parting

“Hitherto the nude has always been represented in poses which presuppose an audience; but these women of mine are honest, simple folk, unconcerned by any other interests than those involved in their physical condition. Here is another; she is washing her feet. It is as if you looked through a key-hole.”

Edgar Degas (1834–1917) French artist

Quoted by George Moore, in Impressions and Opinions (1891)
1876 - 1895

Women

“Is it not possible that an unruly head of hair, an infectious smile, eyes that seem remarkable for the depths of their sincerity, a cultivated air of authority, may attract huge television audiences regardless of the violence that may be done to truth or objectivity?”

Edward R. Murrow (1908–1965) Television journalist

As quoted in The Saturday Evening Post (December 1949) http://www.saturdayeveningpost.com/wp-content/flbk/Murrow_Sticks_to_the_News/pubData/mobile/index.htm#/1/

Truth, Smile, Sincerity

“Aristotle writes that persuasion is based on three things: the ethos, or personal character of the speaker; the pathos, or getting the audience into the right kind of emotional receptivity; and the logos, or the argument itself, carried out by abbreviated syllogisms, or something like deductive syllogisms, and by the use of example.”

Randal Marlin (1938) Canadian academic

Source: Propaganda & The Ethics Of Persuasion (2002), Chapter Two, History Of Propaganda, p. 47

Personality

“Jumps and turns aren't hard; artistry is. To create a whole new world for the audience, that's the fantasy of ballet.”

Danny Tidwell (1984) American dancer

Rubin, Hanna (January 2005), "On the verge in 2005, DM's 25 to Watch", Dance Magazine 79 (1):40-69

World

“All spiritual strength for ourselves, all noble ties to one another, have their real source in that inner sanctuary where God denies His lonely audience to none. Its secrets are holy; its asylum, inviolate; its consolations, sure; and all are open to the simple heart-word, "Thou art my hiding-place."”

James Martineau (1805–1900) English religious philosopher

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 281.

God, Secret, Art, Heart

“The main development I want to discuss has already occurred: Keynesian economics is dead [maybe ‘disappeared’ is a better term]. I don’t know exactly when this happened but it is true today and it wasn’t true two years ago. This is a sociological not an economic observation, so the evidence for it is sociological. For example, you cannot find a good, under 40 economist who identifies himself and his work as ‘Keynesian’. Indeed, people even take offense if referred to in this way. At research seminars, people don’t take Keynesian theorizing seriously any more—the audience starts to whisper and giggle to one another. Leading journals aren’t getting Keynesian papers submitted any more.”

Robert Lucas Jr. (1937) American economist

Robert E. Lucas, "The Death of Keynesian Economics", in Issues and Ideas (Winter 1980).

People, Way, Dead

“There is only one thing I wast to say about Ohio that has a political tinge, and that is that I think a mistake has been made of recent years in Ohio in failing to continue as our representatives the same people term after term. I do not need to tell a Washington audience, among whom there are certainly some who have been interested in legislation, that length of service in the House and in the Senate is what gives influence.”

William Howard Taft (1857–1930) American politician, 27th President of the United States (in office from 1909 to 1913)

Speech before the Ohio Society, Washington, D.C.; quoted in the Congressional Record (May 23, 1916), vol. 53, p. 8527.

People, Thinking, Housing

“Mandingo is racist trash, obscene in its manipulation of human beings and feelings, and excruciating to sit through in an audience made up largely of children, as I did last Saturday afternoon. The film has an "R" rating, which didn't keep many kids out, since most came with their parents… if [Chicago] believes Mandingo should be shown to children, then there are no possible standards left and the only thing to do is transfer the censors to the parks department, where they can supervise paper‑plate‑ throwing contests.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/mandingo-1975 of Mandingo (25 July 1975) Reviews, Zero star reviews

Children, Feeling, Parent

“We played a gig in the Swiss Alps at a snowboarding convention. Red Bull-this energy sports-fuel drink-sponsored the whole thing. It has some ingredient believed to be bull-testicle extract. We went way off our tour route, had to take two planes and missed a night's sleep. We got up there and there's no snow-it's all mud. You couldn't walk. You'd step and then be up to your knee in mud. So you had several thousand disgruntled snowboarders tanked up to the max on bull-testicle extract. Of course, for some reason, these strapping brutes were made to wait out in the mid and the rain before coming into the tent for the show. When we get up to play, I see this forty-foot gap between us and the audience-they still managed to nail us with empty cans of Red Bull. After a few songs, I wasn't really playing my guitar, I was using it to bay cans back into the crowd of disgruntled sports enthusiasts. It felt like we were A Flock of Seagulls opening for Napalm Death.”

Beck (1970) American Musician (b.1970)

Rolling Stone magazine, 1996

Death, Way, Drink, Sport

“I have always been a laugher, disturbing people who are not laughers, upsetting whole audiences at theatres… I laugh, that's all. I love to laugh. Laughter to me is being alive. I have had rotten times, and I have laughed through them. Even in the midst of the very worst times I have laughed.”

William Saroyan (1908–1981) American writer

Sons Come and Go, Mothers Hang in Forever (1976)

Love, People, Laughter, Time

“As is well-known, he secured donations for Aligarh from Hindus of his own feudal class. When canvassing for their support he expressed such exemplary sentiments as that Hindus and Muslims were the ‘two eyes of the beautiful Indian bride.’ But when addressing exclusively Muslim audiences, especially political meetings, he was militant enough to threaten civil war.”

Syed Ahmed Khan (1820–1898) Indian educator and politician

M.R.A. Baig, The Muslim Dilemma in India, Delhi, 1974, p. 52.
About

War, Beauty, Support

“People in Hollywood are not showmen, they're maintenance men, pandering to what they think their audiences want.”

Terry Gilliam (1940) American-born British screenwriter, film director, animator, actor and member of the Monty Python comedy troupe

IMDB profile http://www.imdb.com/name/nm0000416/bio#quotes

Men, People, Thinking

“Verse libertines' pioneered the work to get rid of obstacles between that which hampered the poet and separated him from his audience, less a matter of rules and formulae, more a return of spirit.”

Harriet Monroe (1860–1936) American poet and editor

The New Poetry (1918)

“[to camera] Excuse me for just a second. [walks off-camera, to studio audience] Shut up!”

Craig Ferguson (1962) Scottish-born American television host, stand-up comedian, writer, actor, director, author, producer and voice a…

2009-05-15 broadcast
The audience had collectively went "Aw…", expressing disappointment.
The Late Late Show with Craig Ferguson (2005–2014)

“Doctor Sarah didn't start out by attacking and berating everybody who called her radio show," Mona says. "She used to have a little time slot and a little audience, and she seemed to really care about helping people."”

Chuck Palahniuk book Lullaby

Source: Lullaby (2002), Chapter 22

People, Time, Help

“This was the largest audience to ever witness an inauguration -- period -- both in person and around the globe.”

Sean Spicer (1971) American political strategist and former White House Press Secretary and Communications Director for President…

Transcript of press secretary Sean Spicer http://www.politico.com/story/2017/01/transcript-press-secretary-sean-spicer-media-233979 (January 21, 2017)

Personality