Phenomenological Intuition in the Artistic Interpretation of History

The logics of intuitionism, which has been elaborated on the premises of phenomenology as an alternative to the formal logics, reveals common features with eidetic reduction while making up preconditions for the formation of eidetic images. It is the relation “part — whole” that becomes the foundation of intuition being common with totallogy in philosophy and meronymy in linguistics. Here, in opposite to the elements of a class in formal logics, the parts are not indifferent but are rather different in function beforehand while determining the division of an object into closed cycles. The main means of intuition, i.e. the creation of cycles and the disclosure of manifold connections (“diagonalization”), conform to the properties of historical reality which is marked with totality and uniqueness and is represented as the “possible worlds” that are remote from immediate observation due to the historical distance. Of particular importance is such peculiarity of historical stuff as that of closed nature which imparts the property of a self-referential text to history. That evokes the problems of fatalism reflected in theatre as a “freedom — fate” dilemma. As to the theatrical interpretation of history, the scope of “episode — epoch” cycles plays here the important role where the transition is provided with the subject of action as the vehicle of intentionality. The intuition in theatrical interpretation works through the disclosure of manifold connections among separate episodes, in particular, through the searches of the prototypes of dramatis personae. The epoch’s subject of action is reconstructed in theatre as the vehicle of intentionality. Episodes correspond with the epoch as a whole in the eidetic image of an epoch.