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According to the video scenario, the scene takes place inside a pink conch shell. The dreamy tableaux seem a long way from the zany, hard-edged world of her earlier videos.

But once again Lauper is expanding her repertory of images, borrowing from Dali and Isadora Duncan as effortlessly as she drew on Bogart and Bergman in ''Time After Time.

In a thick Queens accent, she announces, ''I am glamorous'' - or, more exactly, ''Oi ayyam glayamurous. Splashed across magazine covers, their videos endlessly replayed on television, most video-era stars have tried one of two strategies - risking overexposure by releasing a steady stream of records, videos and films, like Madonna and Prince, or risking oblivion by first riding the wave of popularity and then disappearing like Michael Jackson, whose ''Thriller,'' the best-selling album of all time, came out in and as yet has had no sequel.

Lauper has been somewhere in between. For most of , she was ubiquitous - touring arenas, appearing live on television and garnering continual airplay of her singles and video clips.

In , however, Lauper seemed to have run out of steam - and ideas. In part, she needed time to plan her next album. There was pressure to get it done, but I wouldn't settle for just anything, and in the end, a deadline doesn't count unless you're satisfied.

In this field, you're only as good as your last record, but I still want to be an artist - somebody who, 20 years later, will show a thread of consciousness through all the different works.

But there were also hints of a lack of direction, such as Lauper's well-publicized foray into the world of professional wrestling.

In mid, when the pro wrestling vogue was at its height, Lauper began acting as a spokesman-mascot-provocateur, even jumping into the ring now and then.

When Albano made hostile statements against women, Lauper staged a grudge match of lady wrestlers. Lauper also promoted two ''Rock and Wrestling'' specials on the MTV rock-video channel, co-produced a Saturday-morning rock-wrestling cartoon show, and produced a song on a novelty album of singing wrestlers.

T HE LOWER MAN-hattan duplex Lauper shares with Wolff is decorated in Rampant Eclectic style, with a pair of pinball machines, an ornamental carved rickshaw, potted bonsai trees, a piano, plastic flamingos, a framed still from a pirate movie, a six-foot Statue of Liberty, and chochkas galore.

Like Lauper's outfits and her albums, it's a tribute to organized incongruity. In her lap is a book called ''The Image Makers,'' a collection of Hollywood glamour photographs.

As image becomes more important in making a rock career, performers have been ransacking the history of art and film. Lauper pages through the images, pointing out Nazimova's headdress which inspired a Lauper costume for an American Music Awards television appearance and Claudette Colbert's eye makeup.

She pauses at a photograph of Katharine Hepburn's head and shoulders emerging dramatically from a gown, a pose similar to the cover of Madonna's album ''True Blue.

Together, Madonna and Cyndi Lauper unquestionably represent something new -the autonomous, mass-audience female rocker. Both singers created their own images, built video-centered careers and set off fashion shock waves.

As the two most visible female songwriters of the 's, they seem destined to square off. While Lauper deliberated over her second album, Madonna put out an album in late , starred in ''Desperately Seeking Susan'' and released a third album, ''True Blue,'' a few months ago.

By the time Lauper and her co-producer Lennie Petze found out about the similarity in album titles, they were firmly attached to ''True Colors.

But with both albums out, everyone will hear that as far as music goes, they're not anywhere near each other. Madonna's image has changed so quickly, from Lower East Side punk to Marilyn Monroe glamour, that she has managed to avoid overexposure.

At the same time, her songs have stayed close to pop formulas about finding a mate - via physical attraction ''Borderline,'' ''Like A Virgin'' , worldly blandishments ''Material Girl'' or getting ''in trouble'' ''Papa Don't Preach''.

In Hollywood terms, Madonna is ''high concept,'' reducible to a short, marketable description like ''sexpot singing dance tunes'' - or, as a belt buckle she wore in a video clip put it, ''Boy Toy.

Lauper, meanwhile, has insisted on variety and unpredictability. Because it's not high concept, it's a harder career to build; there are fewer signposts and fewer models.

Lauper is running on her own ideas and reflexes - a highly personal combination of pop expertise, wide-eyed intuition, workaholic attention to detail and sheer moxie.

But even when you're being earnest you can flop. If ''True Colors'' is to extend her career, it has to grab Lauper's original audience without sounding like a rerun.

The front of ''True Colors'' shows Lauper barebacked, gazing at her reflection in a pool and wearing only a bracelet and earring; it was suggested by Jean Cocteau's film ''Orpheus.

It's all done with mirrors. Her mother recalls Cyndi vocalizing along with the phonograph -Broadway and soundtrack albums and pop singers from Louis Armstrong to Mario Lanza.

After traveling and working at odd jobs, she started singing top 40 hits with Long Island club bands. And by , her voice was nearly shot.

A sympathetic vocal coach, Katie Agresta, unlocked her three-and-a-half-octave range - four, Lauper says, ''on a very good day.

And I listened to Lester Young with Billie Holiday, for the relationship between voice and instruments. In , the saxophonist-keyboardist John Turi heard Lauper singing in Greenwich Village, and started writing songs with her while he exposed her to basic American rock-and-roll.

She and Turi formed a band called Blue Angel, performing songs steeped in the 's but updated, Lauper says, by an aggressive tone that 's female singers rarely used.

Blue Angel made one album for Polygram Records in , with no commercial impact. The LP did, however, teach Lauper about controlling her image.

Blue Angel broke up in the early 's; Lauper went back to club singing and odd jobs - including a stint as a part-time saleswoman at a Manhattan vintage-clothing store, Screaming Mimi's.

At a time when people were wearing tasteful jewelry, she would have bracelets all the way up her arm. She was one step ahead of everybody. And she would tell people, 'It's important to have a strong image - don't be afraid to look different.

At a party in l, Lauper had met Dave Wolff, a rock singer. He became her boyfriend and then, despite his worries about mixing business and romance, her manager.

Wolff convinced Lennie Petze at Portrait Records to see Blue Angel perform, and eventually Petze signed her to Portrait, one of only four signings that year.

In late , after the video clip of ''Girls Just Want to Have Fun'' had started to catch on, the album, which was only being played by a few radio stations, took off, and the woman with the Betty Boop voice became a full-scale rock phenomenon.

Late last year, Lauper began work on ''True Colors. Its title comes from a Georgia O'Keeffe painting. A lot of times she can hear things in her head but she doesn't know how to play them, and I think that's why she likes to work with other musicians.

The songs mix up rock, pop and funk in volatile combinations, defying categories while staying catchy. There is delicacy in ''True Colors'' and ''Boy Blue''; there are also wild, roller-coaster peaks and swerves in ''Change of Heart'' and '','' which has near-slapstick timing.

In song after song, Lauper sings with improvisational gusto, swooping and gliding and leaping from note to note, using everything from a whisper to a rocker's rasp.

As on ''She's So Unusual,'' most of the lyrics are open-ended. They might be avowals of love or simple friendship, professing reassurance and consolation.

When babies are born, they're just nuts about everything about themselves. Then, as we get older, we're taught that, oooh, that's disgusting, and that if we like ourselves then that's considered conceit.

That's part of the album, too - not to be so hard on yourself. While the album's underlying message might sound like greeting-card philosophy, the songs themselves whoop and holler in some spots, sigh in others - they're anything but sweet and decorous.

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