- Paperback: 256 pages
- Publisher: Faber and Faber (11 Oct 1993)
- Language English
- ISBN-10: 0571170633
- ISBN-13: 978-0571170630
- Product Dimensions: 19.7 x 12.6 x 1.9 cm
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 356,538 in Books (See Top 100 in Books)
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More About the Author
Product Description
Product Description
David Hare's trilogy of plays - Racing Demon, Murmuring Judges, The Absence of War - first presented at the National Theatre, London, in 1993, examines the crises facing three great British institutions - the Church, the Law and the Labour Party. In order to learn about these organisations, Hare amassed a body of hard research from first-hand interviews with many of the people involved: from vicars to high-ranking policemen, from judges to MPs. Asking Around presents a judicious selection of those interviews and also includes a commentary by Hare, describing how he threaded his way through the complex structures of Church, Law and Politics.
About the Author
David Hare was born in Sussex in 1947. He is the author of twenty-eight plays for the stage, sixteen of which have been seen at the National Theatre. These plays include Plenty, The Secret Rapture, Skylight, Amy's View, Via Dolorosa, Stuff Happens, Gethsemane and The Power of Yes. In 1993 three plays about the Church, the Law and the Labour Party - Racing Demon, Murmuring Judges and The Absence of War - were presented in repertory in the Olivier Theatre. His many screenplays for cinema and television include Licking Hitler, Damage, The Hours and The Reader. He directed his most recent television film, Page Eight, for the BBC.
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Customer Reviews
Most Helpful Customer Reviews
6 of 7 people found the following review helpful
Format:Paperback
This book gives a rare and valuable insight into Hare's battle to stage his one man play Via Dolorosa. His frank and personal views about his performance, the meaning of its purpose and the edgey wit with which he addresses his frustration and fear of performing his own work as a written (and not purley monologue) piece makes for a gripping read for anyone who is intrigued by the mind behind many of this centurys finest plays
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