Les Liaisons Dangereuses: PlayPaperback
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- Publisher: Faber & Faber Plays
- Format: Paperback | 112 pages
- Dimensions: 124mm x 194mm x 10mm | 100g
- Publication date: 1 October 1985
- Publication City/Country: London
- ISBN 10: 0571137245
- ISBN 13: 9780571137244
- Sales rank: 64,465
The scandalous reputation of Laclos's novel, first published in 1782, is based on its chilling portrayal of the mannered decadence and sexual cynicism of the French aristocracy in the last years of the ancien regime. Christopher Hampton has made a masterful adaptation for the stage of the conspiracy to corrupt a young girl barely out of her convent. Les liaisons dangereuses was premiered by Royal Shakespeare Company at The Other Place, Stratford-upon-Avon, on 24 September 1985, and won Christopher Hampton won the Evening Standard Award for Best Play and the Laurence Olivier Award for Best New Play in 1986.
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Christopher Hampton was born in the Azores in 1946. He wrote his first play, When Did You Last See My Mother? at the age of eighteen. Since then, his plays have included The Philanthropist, Savages, Tales from Hollywood, Les Liaisons Dangereuses, White Chameleon and The Talking Cure. He has translated plays by Ibsen, Moliere, von Horvath, Chekhov and Yasmina Reza (including Art and Life x 3). His television work includes adaptations of The History Man and Hotel du Lac. His screenplays include The Honorary Consul, The Good Father, Dangerous Liaisons, Mary Reilly, Total Eclipse, The Quiet American, Carrington, The Secret Agent and Imagining Argentina, the last three of which he also directed, and A Dangerous Method, based on his play The Talking Cure. Appomattox was first presented on the McGuire Proscenium Stage of the Guthrie Theater, Minneapolis, USA, in September 2012 as the centrepiece of a major retrospective of his plays and films.
"Christopher Hampton's brilliant adaptation...gives a pitiless and searching portrait of the erotic diversions of aristocrats in putrescent pre-revolutionary France." --"Daily Telegraph" "Hampton's achievement is to have preserved the satanic magnetism of the twin conspirators while going all out for social comedy. But this is comedy of the highest theatrical kind: edged with danger, replete with pain and forever reminding us that lives are being ruined with the flick of a well-turned phrase." --"Guardian"