Elizabeth Bruce Email and Phone Number

In Creativists in Dialogue, my co-interviewer Robert Michael Oliver and I interview people from all walks of life about the role that creativity plays in shaping who they are. We explore creativity at both the practical level and the process level. And on occasion, we also delve into the philosophical dimensions of creativity. Funded in part by a grant from the DC Commission on the Arts & Humanities, an agency funded in part by the National Endowment for the Arts. For more information, please visit elizabethbrucedc.com.

Elizabeth's collection, "Universally Adored and Other One Dollar Stories," was published by in January 2024 by Vine Leaves Press of Athens, Greece. This collection includes 33 short stories and flash fictions, each of which begins with the words "one dollar" and pivots in some way around the significance of the “universally adored” American dollar. It features stories of resilience by struggling, often working-class characters who have been pressed into the margins, and yet they go on. Award-winning fiction author John McNally has said "“Elizabeth Bruce’s stories have that rare quality of feeling as though they have always existed, the way the best stories always do....they echo Wallace Stevens’ ‘Thirteen Ways of Looking at a Blackbird,’ and I found myself eager for what came next, curious to see how each new story amplifies the previous story while also diverging from it, often in dramatically different points of view and styles. These are exquisite short stories that give me hope.”Almost all of these stories have been published in journals or anthologies in the USA and abroad. I am deeply grateful for the Fellowships granted me by the DC Commission on the Arts & Humanities, an agency funded in part by the National Endowment for the Arts.

The Performing Knowledge Project, an affiliate of Sanctuary Theatre, was founded by Robert Michael Oliver and Elizabeth Bruce. Recent Projects include HOWL in the Time of Trump (poem by Allen Ginsburg) POE WHITMAN: Repertory Performances, as well as WHITMAN: A Song of Myself, EMBODYING POE, BAGLADY (by Jean-Claude van Itallie), and THE FATE OF A COCKROACH (by Tawfiq al-Hakim) at Capital Fringe Festivals. Additional collaborations included PERFORMETRY @ BloomBars, Writers on the Green Line, and Mementos. Forthcoming in 2023 is Robert Michael Oliver's podcast, "Poetic Consciousness," featuring performance and analysis of classic poetry. Michael and I are I am deeply grateful for project support from the DC Commission on the Arts & Humanities, an agency funded in part by the National Endowment for the Arts.

Elizabeth Bruce’s debut novel, AND SILENT LEFT THE PLACE (new edition 2021/author-read audiobook published in 2022), won Washington Writers’ Publishing House’s Fiction Award, ForeWord Magazine’s Bronze Fiction Prize, and was one of two finalists for the Texas Institute of Letters’ Award for Best Work of First Fiction. Bruce has published in the USA, UK, Canada, Australia, New Zealand, Malawi, India, Yemen, Sweden, Israel, and The Philippines, including in FireWords Quarterly, Pure Slush, takahē magazine, The Dead Mule School of Southern Literature, Inklette, Lines & Stars, and others, as well as in such anthologies as Paycock Press’ Gargoyle 64 and Gravity Dancers, Weasel Press’ How Well You Walk through Madness: An Anthology of Beat, Vine Leaves Literary Journal: A Collection of Vignettes from Across the Globe; and Washington Writers’ Publishing House’s This Is What America Looks Like. Her educational book, CentroNía’s English and Spanish editions of the Theatrical Journey Playbook: Introducing Science to Early Learners through Guided Pretend Play garnered awards from four indie book contests. A native of the small Gulf Coast town of LaMarque, Elizabeth has lived in Washington, DC, since 1983. As a character actor, she, with her husband Robert Michael Oliver, and Jill Navarre, co-founded Sanctuary Theatre in the Columbia Heights neighborhood. She’s co-written scripts performed at the Adventure Theatre and the Capital Fringe Festival; one of her plays won Carpetbag Theatre’s W.F. Lucas Playwrighting Competition. Bruce has been awarded several fellowships from the DC Commission on the Arts & Humanities, Poets & Writers, and the McCarthey Dressman Education Foundation; she's been nominated for a Pushcart and was a Fellow at A.I.R. Studio Paducah. She’s workshopped fiction with Richard Bausch, the late Lee K. Abbott, Janet Peery, John McNally, and Liam Callanan.

The Theatrical Journey Playbook: Introducing Science to Early Learners through Guided Pretend Play and Spanish translation, Manual Viaje Teatral: Introduciendo a los niños pequeños en la ciencia a través de juegos de simulación guiados, are published by CentroNía.English/Spanish versions of this PreK Curriculum Enhancement for formal/informal educators document CentroNía’s Journey Project created and led by Elizabeth Bruce. Playbooks include theoretical foundations, methodology, materials, techniques, rubrics, references, and 23 scripts for this hands-on, multisensory, guided pretend-play science exploration for 3-to-5-year-olds.The Playbooks illustrate the constructivist educational approach on which the Project is based. Specifically, they detail the child-centered, role-playing methodology in which children become skilled science problem-solvers who remedy science emergencies through hands-on simulations of real science phenomenon. For example, the Teddy Bear gets sick and the children become the doctors who examine Teddy, assess her symptoms, take a throat swab and culture it in a Petri dish, and test a variety of medications to discover the most effective treatment. Using both real, tactile science tools, such as stethoscopes and Petri dishes, and pretend science materials, such as shaving cream as antibiotics and raisins as bacteria, the children replicate scientific procedures that explore evidence-based cause-and-effect relationships. Designed to strengthen children’s executive function, self-regulation, cooperation, and leadership skills, the Journey Project and Playbook feature abundant language/cognitive/creative, fine/gross motor, socio-emotional, and scientific/mathematical skill-development techniques embedded in journeys and related exercises/rituals.Elizabeth and CentroNía thank DC Commission on the Arts & Humanities, an agency funded in part by the NEA, the Inter-American Development Bank, Divas Fund & McCarthey Dressman Education Foundation.

The Sanctuary Theatre, Inc., was founded in 1984 in the old sanctuary of Calvary United Methodist Church (now, Casa del Pueblo). During its first six years, Sanctuary produced a wide variety of shows, from its opening show, Jesse and the Bandit Queen; by David Freeman, to a host of internationally significant plays such as Ti-Jean and his Brothers; by Derek Walcott, Fanshen by David Hare, and The Tree Climber by Tawfiq al Hakim. Sanctuary Theatre always specialized in producing culturally significant, yet under-produced plays and playwrights from around the world.Since those first, vibrant six years, which earned The Sanctuary a national reputation–but modest funds–it scaled down its activities, producing the occasional show. In fact, from the late 1990s to 2007, Sanctuary Theatre did not produce at all, focusing instead on arts education.With its 2007 Capital Fringe Festival production of The Fate of a Cockroach, another script by renowned Egyptian playwright Tawfiq al Hakim, Sanctuary returned to the Washington theatre scene. It returned to the Fringe Festival in 2009, remounting Sanctuary's earlier hit production of Jean Claude van Itallie's one-woman show, Bag Lady, and, presaging the emergence of The Performing Knowledge Project and fu ture productions of poetry and prose in performance at the Capital Fringe Festival.Sanctuary thanks the DC Commission on the Arts & Humanities, the Cafritz Foundation, and individual donors for their early support.

Character actor.

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