by 
12angel
ANSWERS: 14
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I'm a tactile learner myself. So I usually walk around while reading the play. Which takes a while, but I learn it. I know people that like to do the play with a friend as well.
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repetitiveness is good. just read your scenes over and over read them out loud by yourself or with friends
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read it about 200 times out loud you will be fine
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It helps once I have my blocking. I can memorize the lines with a frame of reference. Muscle Memory.
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memorize it line by line. once you can do one line from memory, even if you have to struggle with it, go on to the next one, then do both together. etc., etc. and always out loud. ALWAYS. then you have the sound of it stuck in your head as well, like a song.
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repeat repeat and rehearse
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read your lines at least once or twice every day. and when practicing and rehersing to yourself, read one line once or twice to yourself then repeat it out loud without looking at the paper about 3 or 4 times. repetition is good!
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repeat repeat repeat and repeat again.....
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Practice Practice Practice
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I usually highlight my lines and just repeat them as much as possible. And I find some poor soul to read them with me.
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Rote; repeat them over and over again.
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I memorize what I hear. So I go to the first readthrough of the play with my Mac and record the whole thing. Then at night, before bed, I play it on loop.
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Put your line cues on a tape. Use your script for reference as you listen to the tape, and speak your lines in the right spots. Go line by line, and drop the script as you memorize each section. After you drop the script, run those lines or long speeches while doing something else with your hands, like washing dishes, showering, folding clothes, driving, or just tying your shoes. This will put the memorized lines in a more permanent section of your brain, and you will be able to deliver your performance in a more natural manner, and it will sound more like a natural response and less like a recital.
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I would agree with taping, but not only your cues but your lines as well. If you are involved in live theatre it is truly best to not only learn your lines but the lines of others you are on stage with. This way when someone drops an important line you can save the day by bringing back around by asking their line in the form of a question or improvise a suggestion of the line forgotten. No one likes to feel like the deer in the headlights. Also, commit your lines to your blocking (stage direction). This makes it much easier to stay in the moment and rehearse reactions too.
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