- It's called a "play" for a reason. (This is paraphrased from somewhere - Dario Fo, perhaps?)
- Actors need to be empowered, because much of the audition and rehearsal processes can and do (intentionally or non-) relegate the actor's craft to a low priority.
- Unlike other creative artists, actors need other people in order to act, because without them the equation isn't balanced, and the work is incomplete.
- As actors, we can instinctively be in competition with one another, but this sabotages what we want to achieve in myriad ways -- see above.
- The typical model of work-flow for a working actor largely puts him or her in the position of relying on others' decision-making for when they work and what they work on.
- An actors' work is always, always better when s/he can combine the relaxation of game-play and experimentation with the desire to work toward the most effective expression of a script, which one doesn't always have the time or permission to achieve in a necessarily short rehearsal period.
- Acting takes practice; good acting takes regular practice.
- It's fun.
- Most actors are willing to work for the sake of the work, but we must resist it in the interests of a sustainable career; being free to focus on the craft on a regular basis, without such worries, empowers us to make sure we value the rest of our efforts as we should.
- Networking is not enough; we need a community.
- Action begets action.
It's exciting work in an exciting time. At first, I was going to describe a bit of what happened, the little challenges and victories that came about, the laughs, and of course the pumpkin fudge, which doesn't sound natural but is an amazing and delightful adventure of the taste buds. But the fact is, it loses something in translation. Words will not suffice. It's not enough to hear about it, or even witness it.
To know it, you have to do it.