What the Students Say: Acting Training What the Students Say: Voice training
	What the Students Say: Movement Training
	For General Care For the Performing Arts
	FOR GENERAL CARE
	[Name Withheld, J.D.] Executive Director, environmental organization, Bay Area
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	The recognition that you gave me of the root of my "alignment problem" is still with me. Now I feel that I know how to get myself straight up and down. Is it possible—that I seem to look a little younger even in the face? I read an excerpt from a book at our strategic planning meeting and was very aware of sitting in alignment - and it was indeed so much easier - felt less strained...I am a bit fatigued today and catch myself slumping forwards. I realize how this position has put me so out of touch with my body and being with myself…Or—vice versa...Thank you for giving me this awareness! I look forward to our next meeting.
	Monica Wesolowska. Poet and Novelist
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	I loved the floor exercises. To this day, those exercises help me move smoothly through the world.
	Margaret de Coursey. Pianist, College Counselor
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	After several frustrating years of treatment by a parade of doctors, chiropractors and physical therapists for a neck injury, I began my movement work with Dr. Renaud. In less than a year, I experienced a miracle of sorts, having regained full range of motion in my neck, with any accompanying chronic pain’s having completely disappeared. I know that my recovery is due exclusively to the physical exercises I have learned at the Actors’ Training Project.
	Frieda de Lackner. Actress, Kaiser Educational Theatre Troupe
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	I had back problems for ten years. The floor exercises we did at the Actors’ Training Project completely cured that--and that's a pretty big thing!
	Emily Millot. Classical and Experimental Violinist
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	My practice with Lissa Tyler Renaud has literally given me "a breath of fresh air." Her complex, yet effortless exercises have taught me greater awareness of the integral forces in our environment such as, gravity, allergens, and diet, which affect my breathing and posture--and cured me of asthma. Her extensive knowledge of physical alignment and how it correlates to my violin and, more importantly, my body; has allowed me a deeper understanding of the intimate and dynamic relationships within. As a musician, I have to maintain my instrument, which--I realize more and more--is my body as much as my violin.
	[Name Withheld]. Housewife, Walnut Creek
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	First let me say that I enjoyed meeting you on Friday…I was blown away by how easily you saw the physical issues contributing to my voice problems. I am so exhilarated to have found someone that will help me, in a systematic way, retrain my body and voice so that I gain the strength I am longing for. I have to say that, right now, I am ecstatic at the prospect of finding a new, more relaxed, more powerful way to live in my body and use my voice.
	FOR THE PERFORMING ARTS
	John McConville, M. Div. Dancer/Choreogragher, Co-Founder, Actors’ Training Project, Bay Area/Thailand
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	I felt you with me when I performed, and the work we’ve done together made the dances breathe so naturally. Thank you!
	Dina Emerson. Dancer/Singer, Meredith Monk's company, NY
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	You have been in my thoughts, so vitally, in my ever-continuing studies of DRAMA and DANCE. You are still the greatest teacher I ever had and a beautiful woman as well.
	Nadia Mahdi. Soprano, Co-Founder Teatro Bacchino, Berkeley
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	Learning about proper alignment, and the beauty and simplicity of movement that such alignment generates, is what makes Lissa Tyler Renaud's physical training world class.
	Kathie Schmid. Actress, Northern California
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	In Lissa’s acting class, she taught me how to release my muscles, to rely on my bones and proper alignment for strength. In our movement work together, my body became free enough to allow my characters' physical behavior and non-verbal impulses to inhabit me.
	Michael Armstrong Director/Program Coordinator, Kaiser Educational Theatre Programs
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	I have a strong dance background, but the movement program at ATP [Actors’ Training Project] allowed me to go beyond my somewhat "stilted" or "presentational" vocabulary of movement to a more focused, committed style of stage movement. Each movement had a meaning that was connected to the intent of the character, rather than being something that was placed on top of it. Concrete exercises were given that allowed for a wide range of movement styles.