A Quote by Seth

When you focus on delighting an audience you care about, you strip the masses of their power. — © Seth
When you focus on delighting an audience you care about, you strip the masses of their power.
Contrary to what we, the people, have been told, we are the power; we have supreme authority because we are the masses and true power always resides with the masses, never with the global elite who, by their very nature, have always been a vulnerable minority and will always continue to be...As long as the masses realize that, of course.
In comedy, beware the split focus. The audience should focus on the face of the actor. The audience must see the setup. If there is action elsewhere on the stage, the comic line can be lost.
The path is focus. The power of focus is absolutely essential. To stop all thoughts, you have to have tremendous power of focus.
The power of the masses can influence any government in the world. The power of the masses can elect an official, start a revolution, and drive history. Nelson Mandela did it alone from his prison cell. Ghandi did it lying down. Egypt did it singing songs.
The only power deserving the name is that of masses, and of governments while they make themselves the organ of the tendencies and instincts of masses.
We got to face some facts. That the masses are poor, that the masses belong to what you call the lower class, and when I talk about the masses, I'm talking about the white masses, I'm talking about the black masses, and the brown masses, and the yellow masses, too. We've got to face the fact that some people say you fight fire best with fire, but we say you put fire out best with water. We say you don't fight racism with racism. We're gonna fight racism with solidarity. We say you don't fight capitalism with no black capitalism; you fight capitalism with socialism.
Sure there's a difference with puppet-craft - who cares? I don't care about the puppet-craft, I care about what works. Who cares about the puppet and craft? It's not about that. It's about compelling an audience, and touching an audience in some way.
In spite of its glowing talk about the welfare of the masses, Communism's methods and philosophy strip man of his dignity and worth, leaving him as little more than a depersonalized cog in the ever-turning wheel of the state.
I think, strangely, a strip club can tell you a lot about the city you're in. If you call a strip club "Tuna's," I've gotta go in there. Usually you're not seeing the top talent around, but it's not about that. It's about the experience.
I care about a lot of issues. I care about libraries, I care about healthcare, I care about homelessness and unemployment. I care about net neutrality and the steady erosion of our liberties both online and off. I care about the rich/poor divide and the rise of corporate business.
Great pressure was put on the editor, David Schneiderman, to not run the strip [of Jules Feiffer]. It was offensive. It was racist. And nobody apparently read the strip and saw what it was about. And I wrote a column about that.
Acting is an amazing job. I'm very lucky to do it, and when you're working with terrific people, telling stories you care about, and know it reaches an audience who care about it, too, there is an escapism in that.
There's an appetite for vigour in films. The camera loves a bit of movement. Movement is usually attached to younger people and men, and that's just the way it is. I think that it's a bitter pill to swallow, but it's a fact that there aren't going to be masses and masses of roles for older women because there isn't the audience for it.
Politics is the business of getting power and privilege without possessing merit. A politician is anyone who asks individuals to surrender part of their liberty - their power and privilege - to State, Masses, Mankind, Planet Earth, or whatever. This state, those masses, that mankind, and the planet will then be run by ... politicians.
The best poetry will be found to have a power of forming, sustaining, and delighting us, as nothing else can.
I don't understand choreographers who say they don't care about the audience or that they would be happy to present their works non-publicly. I think dance is a form of communication and the goal is to dialogue with the audience. If an audience member tells me they cried or that the dance moved them to think about their own journey or a family member's, then the work is successful.
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