The phrase "actor audience" is not a standard expression in written English and may cause confusion.
It could be used in contexts discussing the relationship or interaction between performers and viewers, particularly in theater or film studies.
Example: "The concept of actor audience dynamics is crucial for understanding how performances are received."
Alternatives: "performer audience" or "actor viewer".
For him, The Two Gentlemen of Verona is a defence of the theatre against the anti-theatrical polemicists, and Shakespeare 'never wrote a more complex analysis of the relationship between actor, audience and dramatic spectacle' than the disguised Julia's account of how she played 'Ariadne, passioning for Theseus's perjury and unjust flight'.
Between the actor, audience, or the screen.
Mr. Sharif shared the best-actor audience award (with Benicio Del Toro for "21 Grams") for this role at the Venice International Film Festival.
"What we love about the Elizabethan playhouse is the actor-audience relationship.
But the steady burn of the chandeliers dissolves the actor-audience fourth wall, just as its playwright Francis Beaumont wanted.
"But wherever we go, we will maintain the actor-audience relationship and interaction, and the space will have to keep the feel and energy of a nightclub".
Some view this as a new egalitarian phase in the actor-audience relationship; others promote it as a rescue for theaters in dire financial straits.
Even Lifegame, on the heavily decorated proscenium stage of the Lyric, Hammersmith, breached the actor-audience divide: the subject of this biographical impro show, Kerry Shale, had to check details of his wedding day with his wife in the stalls.
Open stages came into use again during the 20th century in productions that stressed actor-audience contact rather than illusionistic effects and in theatres such as the Festival Theatre at Stratford, Ont., Can., where it is used to approximate the original conditions under which William Shakespeare's plays were performed, and the rebuilt Globe Theatre in London.
Yet two actors seeking to pin down the "greatness" of Shakespeare have found that the value of his plays in the contemporary world, and how best to approach them, remains a moot point among actors, audiences and aficionados.
He finds it in the theatre, which possibly explains the exuberance of his productions, liberating texts, actors, audiences and, one now understands, the director.
