The "normal audience" in theory is a necessary generalization of the universal state of existence. A "regular audience" needs to meet the following five criteria:

1. Have a medium level of education;

2. Have positive aesthetic experience, and have a slight interest and foundation in art appreciation;

3. Interested but not exclusive "theater fans" and "fans", that is, they have not been disturbed too much by "emotional paranoid disorder";

4. Basically unfamiliar with various traditional and popular literary theories and commentaries, that is, they have not been disturbed much by "conceptual paranoid disorder";

5. Basically do not participate in the media and online debates about art topics, that is, they have not been distracted too much by "herd paranoid disorder".

Of these five conditions, the last three are the most important.

The latter three conditions subvert a habitual thinking, that is, the socially recognized "enthusiastic audience", "outstanding audience", "professional audience", and even "audience leader" are excluded from the normal audience.

What is theoretically normal must be guarded against all kinds of "paranoid disorders", no matter how many positive reasons for such paranoia. People have always been accustomed to giving too much importance to the special views of special speakers, but in fact, what really deserves attention is "not special". Only by identifying the "non-special" normal audience can we establish the theoretical basis for audience psychology and receptive aesthetics.

In fact, many debates on art issues in the world cannot be established, and art must coexist in diversity, so why argue? In the final analysis, different art only corresponds to different audiences, so all artistic differences are actually differences in audience composition, and all artistic confrontations are actually confrontations between audience groups. The two sides of disagreement and confrontation often regard a part of the special audience as normal audiences, so they speak in vain. Audience psychology and psychological aesthetics do not participate in the debate, because it first puts aside the special audiences of the two sides for a while, and first builds theories on the basis of normal audiences. When the academic construction is successful, those special audiences can become marginal research objects.

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