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Listening & the Actor

Testimonials

Julie-Anne is a breath of fresh air. She really cares for her students and provides support whereever possible. Her technique has enhanced my career and acting capabilities by bringing out the talent I already possessed and gave it specificity and truth. She helped me secure my power within and gave me a great foundation to build on. I have booked numerous jobs and my first major network job! Get in her class.

Danny RoyceLos Angeles

I have grown so much as an actor while studying at AIAC! Julie-Anne has taught me how to really connect to the present moment and affect my partner and the audience in a truly authentic way. I’ve also been able to develop a really strong audition process and have loved being able to practice auditioning every class. Julie-Anne also cares about each of our careers and helps us to take the steps to get where we want to me. I’m so grateful for AIAC!! —

Paige MittonSLC

My auditions improved after the first two weeks of class. A couple of weeks after that I booked my first film! And right after that I got a national commercial!

Amy ArburnLos Angeles

The Actors in Action technique is not easy, but it’s simple. I’ve always known why I wanted to be an actor but because of Julie-Anne, I finally have the how.

Mary NevilleSLC

Julie-Anne’s auditions are always spot-on. I’m happy to recommend her classes to everyone who wants to strengthen their technique.

Jeff JohnsonJeff Johnson Casting

I love how The Liechty Technique covers the many aspects of acting. Julie-Anne not only teaches . . . but she “trains” actors to do their best work consistently—which is every agent’s dream. All actors, regardless of where they live, should take advantage of the training at Actors In Action Conservatory.

Vickie PanekTalent Management Group

For actors it is so important to have great training, like what Julie-Anne gives you. Then you can trust it in the moment, that awesome actor programing she’s written into your macro chip. When you have that and trust it you won’t get paralysis of means of analysis, you’ll be free and in the moment. That’s what as casting we need to see. And you can’t have that kind of accessibility without training like hers.

Andy RothNYC Casting Director

In Class Mary and Hannah inspred 1 Sized

Julie-Anne Liechty with Lights at Lightree Studios Sized

Macbeth Best Shot DSCF1551 Louis Boakye Sized

Show AIAC Showcase Medea reachign up Sized

In Class Randal and Merrill crouching cropped Sized

Tiffany Gale Jump in Goblin Valley Sized

Vision

Our vision is to forge a global connection with actors and other artists, and to better the world through our heightened contributions to theatre, film, and television.

Mission

The mission of AIAC is to inspire, train, and empower actors to do their most riveting work consistently, achieve their dreams, and unleash their red-carpet potential.

Values

Integrity

Being true to yourself, being vulnerable, and following your instincts

Casual Confidence

That magnetic quality of ease that comes with mastery of a skill or art

Grit

The fortitude and focus to get the job done

Passion

Heeding the deep-seated desire to act, to create, and to tell stories

Success

The learned skill of achieving one’s goals

I help actors do their best work 24/7 no matter the circumstances.
– Julie-Anne Liechty, founder AIAC

F.A.Q.

Frequently Asked Questions About AIAC and The Liechty Technique

Why take acting classes?

Acting is an art and a skill, and it must be honed like any other skill. Good acting training will help you be one with your instrument (voice, body, movement, emotions) and teach you to rely on your impulses while you are living truthfully in your role.

At Actors In Action Conservatory, we teach the Liechty Technique, which takes a behavior-first approach to acting. We drill voice work, movement, moment-to-moment work (repetition), verb work, audition work, script analysis, and scene work over and over again, much like a pianist practices their scales or soccer players drill their foot work. This repetitive work takes the actor out of their head and into their instruments/impulses, so they can instinctively play a scene. The result is a fail-safe acting process that is always there for the actor no matter the circumstance or challenge.