Anglo–Saxons said « teaching is not telling ». Deleuze (1925-1995) wrote that a teacher doesn’t teach, but “signs” (1) . From these two remarks, we are interested in practical processes used by a teacher and a choreographer. The first one gives climbing lessons, and the second practices dance with pupils. The following questions are from our underlying observations : what are the educational signs given to guide pupils? What signs are remembered by the pupils? What skills are produced as a result from this signs? Our proposal concerns research about “sign” practices as well as their organizational processes, which are unavoidable by “didactical” relations. A teacher has to use “signs” to direct pupil’s activity as well as directly imparting knowledge. Pupils don’t learn just by listening to the teacher, but also through conflicting learning backgrounds. This method titled “ didactic hesitation” ( Sensevy et Quilio, 2002) implies that teachers and pupils expand certain skills in order to keep up with each other expectations. However, even though the idea of “didactic hesitation” is a notion referred to in education and a practice often called upon by teachers, it hasn’t been reviewed in connection with effective teaching methods. That’s why, our study deals with ordinary clinical research (Schbauer- Leoni&Leutenegger, 2002), from films about school classrooms situations. One of them is of dance classes with young pupils (five years old in primary school), and the other about secondary school classes during climbing lessons with students of 13/14 years old. Our research deals with how pupils learn when confronted with these lessons. We are interested in studying the processes of interaction between teachers and pupils, considering their learning/ teaching practices as a their joint action ( Sensevy et al 2008). We will see if just the concept of “interactives skills” is really inadequate in giving a good reflection of remarkable educational phenomena. We will underline more exactly a way of contractual communication, to the detriment of less interactive ways of learning. Such a perspective will only be possible if we confront the concept of “didactic hesitation”, with practices from “didactic situations” ( Brousseau, 1997). It’s, indeed, by permanent returns (Bourdieu, 1992) between theoretical concepts and institutional practices (Douglas, 1986) that we can make “legible” didactic genious used by actors on a day to day basis. 1. french play on the words “enseine/ensigne” (to teach/ to sign), meaning he uses signs.

Theorie de l'action conjointe en didactique (TACD) Gérard Sensevy Our study deals with ordinary clinical research (Schbauer- Leoni&Leutenegger, 2002), from films about school classrooms situations. One of them is of dance classes with young pupils (five years old in primary school), and the other about secondary school classes during climbing lessons with students of 13/14 years old. Our research deals with how pupils learn when confronted with these lessons.

We are interested in studying the processes of interaction between teachers and pupils, considering their learning/ teaching practices as a their joint action ( Sensevy et al 2008). We will see if just the concept of “interactives skills” is really inadequate in giving a good reflection of remarkable educational phenomena. We will underline more exactly a way of contractual communication, to the detriment of less interactive ways of learning. Such a perspective will only be possible if we confront the concept of “didactic hesitation”(2) with practices from “didactic situations” ( Brousseau, 1997). It’s, indeed, by permanent returns (Bourdieu, 1992) between theoretical concepts and institutional practices (Douglas, 1986) that we can make “legible” didactic genious used by actors on a day to day basis. (2)Used on outdated sense, which uses a retorical form in which a person stops mid-sentence, and leaves their audience to imagine the rest.