A Quote by Mae West

Personality is the glitter that sends your little gleam across the footlights and the orchestra pit into that big black space where the audience is. — © Mae West
Personality is the glitter that sends your little gleam across the footlights and the orchestra pit into that big black space where the audience is.
I have a big personality, and I think big personality plus blond hair makes me come across as glib. With dark hair, people look at your face more. Before, it was all about the hair.
We dig a well and create a huge pit. The space in the pit or well has not been created by us. We have just removed the earth which was filling the space there. The space was there then and is also there now.
Until your personality has exhausted its obsession with running the show, your soul isn’t given the space to express itself. Your personality can be threatened by your soul, because your personality has controlled your life for a long time and doesn’t want to give up control. Your personality is like a wild horse that tries to throw off the rider trying to tame it. The rider is your soul.
Anyone can wear glitter, even a woman in her 60s. It's all about techniques. Instead of applying glitter all over the face, you can just add a little to the inner corner of your eyes or on your brow bone, or even on your Cupid's bow. It just adds this magical element to your makeup.
The game is if the orchestra can hear each other, they play better. If they play better and there's a tangible feeling between the orchestra and the audience, if they feel each other, the audience responds and the orchestra feels it.
Conversation should be like juggling; up go the balls and plates, up and over, in and out, good solid objects that glitter in the footlights and fall with a bang if you miss them.
The big turning point came when I played in the pit orchestra for a production of SWEENEY TODD and I spent most of the time watching the play instead of playing the score! And that's when I knew I had it bad for acting.
I learned to glitter the pumpkins for Halloween not because I went into it thinking, 'I'm going to glitter some pumpkins!' No. I bought all of these big, cold, slimy, disgusting pumpkins and tried to carve them, and it was gross, so I had to find something else to do with them. Glitter was life-changing.
The Devil sends the precipices; God sends the bridges! When you come across a precipice, look for the bridge; it is somewhere there!
Conversation should be like juggling; up go the balls and the plates, up and over, in and out, good solid objects that glitter in the footlights and fall with a bang if you miss them. But when dear Sebastian speaks it is like a little sphere of soapsud drifting off the end of an old clay pipe, anywhere, full of rainbow light for a second and then - phut! vanished, with nothing left at all, nothing.
The last collaborator is your audience ... when the audience comes in, it changes the temperature of what you've written. Things that seem to work well -- work in a sense of carry the story forward and be integral to the piece -- suddenly become a little less relevant or a little less functional or a little overlong or a little overweight or a little whatever. And so you start reshaping from an audience.
The thing about glitter is if you get it on you, be prepared to have it on you forever. Because glitter doesn't go away. Glitter is the herpes of craft supplies.
Speakers find joy in public speaking when they realize that a speech is all about the audience, not the speaker. Most speakers are so caught up in their own concerns and so driven to cover certain points or get a certain message across that they can't be bothered to think in more than a perfunctory way about the audience. And the irony is, of course, that there is no hope of getting your message across if that's all the energy you put into the audience. So let go, and give the moment to the audience.
Eventually we want to do a puppet musical with turntables in the orchestra pit.
Be prepared to cut your little extra lines that come after a big punchline and move on to the next joke or routine to give your set more punch and crispness. You can keep them in your set, but if the audience applauds your big line, don't do your tag when it dies down, just move on.
My method of getting a play across the footlights is like a revolver shooting: every line has a bullet in it and comes with an explosion.
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