It's called an "aside". It is a line that the playwright directs the actor to deliver to the audience, which is called "breaking the fourth wall". Neil Simon's comedy "Fools" is full of asides to the audience.
Aside
An actor holds his movement or next line until the laugh from the audience evoked by the previous moment subsides. Holding for laughs is important in live comedy as the next line will be lost in the laughter. That is, the audience will not hear the line. It is also important to give the audience time to laugh. If actors routinely "step on laughs" the audience will stop laughing for fear of missing something. Such an audience doesn't have nearly as much fun.
Basically you might use it to let the audience join in ! Although why this shape of stage would be better than any other for audience participation I do not know. In a proscenium setup there is a firm line between what is audience and what is stage. In theatre in the round, that line is obliterated because from every vantage point you can see that there is audience on the far side of the players. Rather than trying to create another but separate reality for you to believe in, the stage action is drawn into the audience's reality. That is not a participation issue but a perception issue.
An aside is when a character says something out loud in the attempt of conveying his or her thoughts to the audience, with the supposition that other characters can not hear it. This can be used when a character wants to share what he or she is thinking, when describing a previous event, etc.
you remember a line or a huge paragraph and you need to be able to persuade people in the audience that it is real.
Aside
In the play "Hamlet" by William Shakespeare, the line "The lady doth protest too much, methinks" is heard by the audience watching the play within the play, but the characters onstage do not hear it. This line reveals the queen's guilt in the murder of King Hamlet.
An actor holds his movement or next line until the laugh from the audience evoked by the previous moment subsides. Holding for laughs is important in live comedy as the next line will be lost in the laughter. That is, the audience will not hear the line. It is also important to give the audience time to laugh. If actors routinely "step on laughs" the audience will stop laughing for fear of missing something. Such an audience doesn't have nearly as much fun.
Generally, the entire cast line up and take at least one bow, as a gesture of thanking the audience for their appreciation of the play.
The cast of Line by Line - 2010 includes: Fintan Cheng as Student Amy Duan as Audience Michael Le Cardinal as Teacher Yik Leung as Theatre Crew Vincent Lu as Will - 7-years-old Rachel Mazariegos as Student Sze Ming Yu as Audience Nelson Nam as Actor Portraying Son Lok Ting Suen as Audience Man Ying Leung as Theatre Crew Jessie Zhu as Student
Basically you might use it to let the audience join in ! Although why this shape of stage would be better than any other for audience participation I do not know. In a proscenium setup there is a firm line between what is audience and what is stage. In theatre in the round, that line is obliterated because from every vantage point you can see that there is audience on the far side of the players. Rather than trying to create another but separate reality for you to believe in, the stage action is drawn into the audience's reality. That is not a participation issue but a perception issue.
50/50 split, audience, & life line( you can call a friend or relative)
The imaginary line in a film preserves the audience's visual point of view. It is a director's axiom for camera placement, and not one dictated by the script. The overarching notion that contains the imaginary line is known as the '180 degree rule'.You can read more about it and other cinematic terms, below.
ethos
it lets the audience now what romeo is thinking.
They ask the audience members to bring something in with them when they come to see the show.
An aside is when a character says something out loud in the attempt of conveying his or her thoughts to the audience, with the supposition that other characters can not hear it. This can be used when a character wants to share what he or she is thinking, when describing a previous event, etc.