In this article, from the Philosophy of Theater, a set of concepts is proposed to problematize the complexity of the action/event of expectation. Based on the Aristotelian distinction (Metaphysics) between close gender and specific difference, it is argued that "expectatoriality" is the condition that crosscuts various practices of expectation (artistic, social, trans-theatrical) founded on a common matrix of theatricality (understood as organization of the gaze of the other). It is also affirmed, from a pluralistic view, that there are "expectations" that imply different characteristics. Finally, we reflect on the pedagogies of expectatory events and their relationship with the knowledge of experience and time.

In this article, from the Philosophy of Theater, a set of concepts is proposed to problematize the complexity of the action/event of expectation. Based on the Aristotelian distinction (Metaphysics) between close gender and specific difference, it is argued that "expectatoriality" is the condition that crosscuts various practices of expectation (artistic, social, trans-theatrical) founded on a common matrix of theatricality (understood as organization of the gaze of the other). It is also affirmed, from a pluralistic view, that there are "expectations" that imply different characteristics. Finally, we reflect on the pedagogies of expectatory events and their relationship with the knowledge of experience and time.

In this article, from the Philosophy of Theater, a set of concepts is proposed to problematize the complexity of the action/event of expectation. Based on the Aristotelian distinction (Metaphysics) between close gender and specific difference, it is argued that "expectatoriality" is the condition that crosscuts various practices of expectation (artistic, social, trans-theatrical) founded on a common matrix of theatricality (understood as organization of the gaze of the other). It is also affirmed, from a pluralistic view, that there are "expectations" that imply different characteristics. Finally, we reflect on the pedagogies of expectatory events and their relationship with the knowledge of experience and time.

Este volumen se suma a la serie dedicada a la teatrología iberoamericana, fruto del colaborativo esfuerzo entre la Escuela Superior de Arte Dramático "Guillermo Ugarte Chamorro" (ENSAD) y el Instituto de Artes del Espectáculo de la Universidad de Buenos Aires (IAE-UBA). Aquí, exploramos cómo artistas-investigadoras/es e investigadoras/es participativas/os enriquecen los estudios teatrales mediante la investigación-creación. Desde la reflexión sobre nuestras propias producciones hasta el análisis del trabajo de otros creadores, este libro promueve el diálogo y la innovación en el campo de las artes escénicas, facilitando nuevas articulaciones entre arte y academia. En esta oportunidad se ha incorporado 17 trabajos de 21 artistas-investigadoras/es e investigadoras/es participativas/os que han abordado un amplio espectro de temas centrales en la investigación-creación: las tea...