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Last Updated: 04 Aug 12

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Sam Van Witter

SAM VAN WITTER   

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Literary Agent:  n/a

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Plays by Sam Van Witter

Clipped

1st Produced:

- - -

- - -

Company:

n/a

1st Published:

Samuel French, Inc - New York (2012) >>>

ISBN/ASIN:

978-0-573-70015-6

Music:

-

doollee no

#143212

To Buy This Play:

If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

 

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abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

short play

Parts:

Male

1

Female

1

Parts other:

-

Notes:

From the nationally recognized Educational Theatre Association's Thespian Playworks competition come four short scripts with unforgettable heroes  all created by high school-aged playwrights! Included in this volume are: The Goatman Cometh by I.B. Hopkins; Eisegesis by Nicholas Mecikalski; See You Soon by Morgan Richardson; Clipped by Sam Van Wetter

Sam Van Witter

Clipped tells the story of Elise, a woman aging too quickly and forgetting too slowly. She buys a parrot, thinking it the reincarnation of her flyaway father. While at first he is hilariously foul-mouthed and stubborn, her persistence works wonders. Soon, Petey the parrot becomes Glen, Elise's dad. The sudden transformation allows Elise to have the conversation and the closure she had been seeking. They, for the first time ever, get to discuss why he left Elise and her mother and what his new life was like in faraway Argentina. Elise realizes that it's not the man that she missed, but rather the idea of him. She finds strength and the license to let him go forever, allowing his memory to slip away and Glen to become Petey once again. Clipped is a touching story of past, family, and what it means to forgive.

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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.