To see it, the spectator must have understood the symbolic geometry of the interior.
The words designate underlying meanings, and it is these inner meanings - the characters' mental states - which have to tướng be ascertained and conveyed to tướng the spectator.
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The scenic display was extraordinary and may well have consumed a large percentage of the spectators' attention.
The performers' feet were at right angles to tướng spectators' feet in an inversion of the axis of physical space.
In short, the spectator remains unusually conscious of the relationship between performance and pretence, between disguise and deceit.
They took advantage of new truyền thông media and negotiated their way into early television showings in order to tướng reach even greater numbers of spectators.
Performers move theatrical lights into place to tướng reconstruct particular filmic moments in what appears to tướng the spectator to tướng be stark Đen and white.
The actual spectators will be more or less receptive to tướng the ways of perceiving or structuring the experience that these layers make possible simultaneously.
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From a terminological point of view one could argue that this type of music often occurs offstage - 'stage' meaning the space visible to tướng the spectators.
From crowding into the library to tướng witness the fun, intending spectators had to tướng view or hear the proceedings from outside the door.
The performers continued, taking no notice, but the spectators could not help laughing merrily.
The spectators standing on the ground below were looking up at performers walking along a vertical surface as if they were upright on the ground.
What is most significant is that there were only a few hundred spectators, only around double the number of the performers.
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This certainly was the most effective act of transgression which made amorphous the distinction between the performers and spectators!
The space described above had a distinct, 'sacred' quality, clearly demarcating the performers from the spectators.
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