Description
This groundbreaking study insists that critical tradition has conspired to emasculate the polemical force Chekhovian comedy out of misplaced respect for his renowned objectivity and his loathing of overt moralizing. A rhetorical framework of analysis is predicated upon the assumption that all writings are implicated in interestedness the critics task is to uncover the rhetorical parameters and nature of that interestedness. Through analyses of each of Chekhovs plays in its original context, the author identifies the rhetorical potential that remains neglected in contemporary readings and productions. All of the readings in this study are addressed to actors and directors inviting them to reassess and reclaim the force of these plays for our time.
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