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Abstract
We are witnessing new challenges for artistic research in and outside the University. The need to practice and think from new approaches to the relationship between art and knowledge has been set at the forefront, especially the links between artistic practice and science in the university framework. This paper proposes to articulate the notions of theater, theatrical thinking and theater sciences as different ways of producing knowledge from theatrical discovery, that is, Philosophy of Theater Praxis. The article promotes the identification of four key figures in the production of knowledge from/to/on artistic practice. They are the artist-researcher, the researcher-artist, the artist associated with a non-artist researcher specialized in art, and the researcher who (without being an artist) produces awareness by participating in the artistic event (due either to his closeness with the artistic field or to his work in coexistence with his role as spectator; it is the researcher who places his/her lab in the theatrical event, not just in the scientific cabinet), with their respective combinations. It also
intends to distinguish a theatrical thought supported or not by artistic practices. Finally, to think of the teatrista (theater all-rounder) as a specific intellectual, paradoxically complementary to the crisis of the “enlightened” teatrista.