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David Hare Plays 1: Slag, Teeth 'n' Smiles, Knucle, Licking Hitler, Plenty

David Hare Plays 1: Slag, Teeth 'n' Smiles, Knucle, Licking Hitler, Plenty

Paperback Contemporary Classics

By (author) David Hare

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  • Publisher: Faber & Faber Plays
  • Format: Paperback | 496 pages
  • Dimensions: 127mm x 193mm x 38mm | 386g
  • Publication date: 1 April 1996
  • Publication City/Country: London
  • ISBN 10: 0571177417
  • ISBN 13: 9780571177417
  • Illustrations note: music
  • Sales rank: 302,754

Product description

Plays One: "Slag""Teeth 'n' Smiles ""Knuckle""Licking Hitler""Plenty" Introduced by the author, this first volume of David Hare's plays contains his work from the seventies, including the landmark play of that decade, "Plenty," charting the development of 'one of the great post-war British playwrights' ("Independent on Sunday").

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Author information

David Hare was born in Sussex in 1947. He is the author of twenty-eight plays for the stage, sixteen of which have been presented at the National Theatre. They include Plenty, Pravda (with Howard Brenton), The Secret Rapture, Racing Demon, The Absence of War, Skylight, Amy's View, The Blue Room (from Schnitzler), The Judas Kiss, Via Dolorosa, Stuff Happens, The Vertical Hour, Gethsemane, The Power of Yes and South Downs. He has also written English adaptations of plays by Brecht, Gorky, Chekhov, Pirandello and Lorca. His many screenplays for film and television include Licking Hitler, Wetherby, Damage, The Hours, The Reader and Page Eight.

Review quote

"Slag""An embattled contemporary morality play full of sardonic fun and spiky indignation...What an enviable debut: funny, intelligent and briskly honest."--"Sunday Times" "Teeth 'n' Smiles ""The writing is bright with aggression...a flintily intelligent play."--"The Times" "Knuckle""I beg all lovers of the theatre, and all those concerned for its future, to see "Knuckle.""--"Sunday Telegraph" "Licking Hitler""Beginning with a middle-class young woman's unceremonious introduction to specialized war work, it develops with a devastating economy of means into a dramatization of the unarguable logic of deception...elegant, spare and as lucid as crystal."--"Observer" "Plenty""Brilliant...it deepens with every viewing."--Mel Gussow, "New York Times"