Sir David Hare (born 5 June 1947) is an English playwright, screenwriter and theatre and film director. Most notable for his stage work, Hare has also enjoyed great success with films, receiving two Academy Award nominations for Best Adapted Screenplay for writing The Hours in 2002, based on the novel written by Michael Cunningham, and The Reader in 2008, based on the novel of the same name written by Bernhard Schlink.
On West End, he had his greatest success with the plays Plenty, which he adapted into a film starring Meryl Streep in 1985, Racing Demon (1990), Skylight (1997), and Amy's View (1998). The four plays ran on Broadway in 1982–83, 1996, 1998 and 1999 respectively, earning Hare three Tony Award nominations for Best Play for the first three and two Laurence Olivier Award for Best New Play. Other notable projects on stage include A Map of the World, Pravda, Murmuring Judges, The Absence of War and The Vertical Hour. He wrote screenplays for the film Wetherby and the BBC drama Page Eight (2011).
As of 2013, Hare has received two Academy Award nominations, three Golden Globe Award nominations, three Tony Award nominations and has won a BAFTA Award, a Writers Guild of America Award for Best Adapted Screenplay and two Laurence Olivier Awards. He has also been awarded several critics' awards such as the New York Drama Critics Circle Award, and received the Golden Bear in 1985. He was knighted in 1998.
یک درام از رابطه ی بین مادر و دختر و چگونگی انتقال خصوصیات و شخصیت مادر به دختر... دختری برای دسدار مادر نقاشش می آید آنهم در بزنگاهی که مادر قراراست کپی یا اصل بودن نقاشی از ماتیس را قضاوت کند ولی مادر درگیر قضاوت دخترش میشود... دختری روس که آزادی میخواهد و اراده را از مادرش به ارث برده است...
A random buy from a library book sale years ago--possibly I was thinking of David Ives?--that I just got around to reading recently, in my quest to read all my books and possibly get rid of a few more. This is one I won't mind getting rid of. There are two plays, neither really satisfying:
1) The Bay at Nice: a caustic mother is brought to authenticate a Matisse--she was his student--and learns that her daughter is planning a socially disastrous divorce. It's the sort of play that seems to be about authenticity and desire and art, but never really coheres. It's unfair, but I can only imagine what a young Tom Stoppard would've done with this material. Or I'll just reread Travesties.
2) Wrecked Eggs: a young couple throws a party to celebrate their upcoming divorce, with only one guest.