The Meisner repetition technique, sure. (Although it just doesn't connect/resonate for a lot of actors.)
But the Meisner technique also teaches you to learn your lines by rote, practicing them in a monotone, intentionally devoid of meaning (the opposite of what this article describes), under the theory that this will free you to add spontaneous emotion in the moment.
Whereas in my experience that's a terrible approach. It makes it vastly harder to learn the material (as this article suggests), and then students tend to perform closer to a monotone because that's how they practiced it and built an unconscious habit of association -- or once they're able to bring emotion to it they forget their lines because the emotion was overwhelming and they don't have the lines "in their bodies" connected to the emotions that are going on, because they learned them by rote.
As you can tell, I'm not generally a fan of the Meisner technique overall...
But the Meisner technique also teaches you to learn your lines by rote, practicing them in a monotone, intentionally devoid of meaning (the opposite of what this article describes), under the theory that this will free you to add spontaneous emotion in the moment.
Whereas in my experience that's a terrible approach. It makes it vastly harder to learn the material (as this article suggests), and then students tend to perform closer to a monotone because that's how they practiced it and built an unconscious habit of association -- or once they're able to bring emotion to it they forget their lines because the emotion was overwhelming and they don't have the lines "in their bodies" connected to the emotions that are going on, because they learned them by rote.
As you can tell, I'm not generally a fan of the Meisner technique overall...