Hitbodedut fit within a wider suspicion in Nahman's teaching of routinized, purely external religious performance, an approach Tormented Master describes as running through Nahman's work generally, valuing an inner honesty of address over correctness of form, which is part of why the practice deliberately avoids the fixed language of the standard liturgy rather than merely supplementing it. The YIVO Encyclopedia of Jews in Eastern Europe records that the practice survived Nahman's death in 1810 as one of the clearest marks of ongoing Breslov identity, continuing among his followers and their descendants through the upheavals of the following two centuries and remaining a defining daily discipline among Breslov Hasidim today, including within the popular contemporary offshoot informally known for its distinctive chant, the Na Nachs. Where many other Hasidic courts center devotional life on communal prayer and on time spent in a living rebbe's presence, hitbodedut instead asks the individual to seek God in solitude and in improvised speech, a difference in emphasis that has remained one of the most recognizable features distinguishing Breslov practice from that of other Hasidic dynasties.