Your mother.

There’s a limit to what you would let someone say about your mother.

It makes a great benchmark for your ‘like’, ‘as if’, or ‘substitution’.

The fact that there is no closer tie than between a mother and her child can be extremely useful for you as an actor.

It’ll help you not give in when you act; assist you to stand your ground and fight; help you tap into that pool of power you possess in order to bear the heat of a close-up; and it’ll help you mean what you say with ease and grace.

Vividly putting your mother in your mind’s eye and harkening to your love for her will keep you far away from Acting. You’ll be more truthful and less likely to not mean what you’re doing and saying in a scene.

This idea of your mother has the most impact when you are learning a scene. In the preparation is when the imagination is first stirred. 

If a realistic improvisation is going in class and one actor is jabbing the other about her mother, the recipient actor will only allow so much before arching up herself and snarling back.

No way. 

No way will we allow our mothers to be humiliated beyond a line of acceptable social humour or criticism. 

We defend our mothers.

This is a vivid tool when you are asking the question ‘What is this situation like?’. It could be like when you need to defend your mother.

Like the way we defend our characters: how they’re always right and believe – for better or for worse – what they say or do.

As an actor you must find intimate methods that assist you to believe.

Consistently practicing these techniques turns them into habits.