Chekhov's idea of crossing thresholds and full-body sensations and qualities are as powerful as any currently available emotional flexibility training from the east or west.
The need for the artist to be able to change emotional states without motivation is becoming ever more clear to the teachers and directors. Actors today must be able to shift on a dime, on cue, in rehearsal, on a set with no other partners present, or act off a broomstick, terrible casting director, or unskilled partner. The idea of needing time to prep through painful memory, or needing someone else to stimulate you is evidently not serving this high-speed world. SO YES, PLEASE GET EMOTIONAL FLEXIBILITY TRAINING. LEARN IT AND SHARE IT.