Abstract: Two pedagogical paths exist to teach theatrical writing in France: “scholarly” pedagogies, which are based on a content to be transmitted (methods, knowledge and know-how); and “idiotic” pedagogies (in the sense of Clément Rosset) for which writing is more the crossing of an experience than the updating of knowledge. The learner is in a real situation of literary creation, through the experimentation of a self-grabbing and at the same time an attention to oneself.
