This article addresses the question of authorship in documentary dramaturgy, exploring how theater projects based on real-life testimonies challenge the traditional model of authorship. It begins with a brief theoretical framework that connects the notion of dramaturgy, as discussed by theorists such as Pavis (1999) and Danan (2006, 2010a, 2010b), with the hybrid nature of contemporary productions. The study focuses above all on the collaborative practices that emerge within documentary theater and characterize contemporary dramaturgy. Through an analysis of C’est la vie (2017), by Mohamed El Khatib, the article examines how actor Daniel Kenigsberg’s active contribution of personal narratives led him to formally claim co-authorship of the work. This case reveals central tensions: the ambiguity surrounding the intellectual ownership of testimonies and the artistic creation of the play, as well as the potential need for prior agreements that clearly define roles and credits. The article argues that in testimonial and documentary dramaturgies—where actors or experts contribute material from their own lives—authorship may be distributed across multiple layers of responsibility, thereby challenging the notion of a single creator. This blurring of boundaries between reality and fiction calls for new contractual and ethical frameworks to acknowledge all voices involved in the creative process. It concludes that documentary dramaturgy requires a rethinking of authorship concepts, embracing models of co-authorship that reflect the intrinsic collaboration of these projects and ensure appropriate recognition of all participants, given the complexity of this approach to dramaturgy.