In writing didactics, the action and production-oriented approach has a central position today. The beginnings of the teaching concept lie in the 1970s, although there were already tendencies towards this type of writing lessons before that. In the 1990s, action and production orientation found its way into curricula; writing on texts is now an integral part of German lessons.
In the following, after a clarification of terms, the most important basic principles of action- and production-oriented literature lessons are to be shown and on the basis of which the necessity of action- and production-oriented German lessons is to be justified. The historical development is then shown and finally some of the action- and production-oriented methods for teaching are presented. The conclusion of the work should be a specially devised project to show how forms of action and production orientation can be realized in the classroom. Schiller's drama Maria Stuart was chosen for this purpose.
Table of Contents
1. Introduction
2. What is action- and production-oriented literature teaching?
2.1 Definitional approach
2.2 Forerunner of action- and production-oriented teaching – history
2.3 The influence of reception aesthetics
2.4 Deconstructivism and Constructivism
2.5 Basic principles and legitimacy
2.5.1 Intensification of learning processes through self-activity and discovering learning
2.5.2 Promotion of motivation
2.5.3 Promoting imagination
2.5.4 Understanding others and taking on perspectives
2.5.5 Individual reference standard orientation
2.5.6 Participation of all students
2.5.7 Combination of different teaching objectives
3. Forms of productive handling of texts
3.1 lyrics
3.2 Epic lyrics
3.3 drama – specially conceived example for the treatment of Mary Stuart
4. Evaluation of productive tasks
5. Final thought
Research Objectives and Core Themes
The primary objective of this work is to explore the didactic concept of action- and production-oriented literature teaching, justifying its necessity and presenting practical, creative methods for its implementation in the German classroom to move beyond purely analytical text interpretation.
- Theoretical foundations including reception aesthetics, deconstructivism, and constructivism.
- Core pedagogical principles such as promoting motivation, imagination, and self-activity.
- Practical, genre-specific methods for handling lyrics, epic texts, and drama.
- A project-based model for teaching Friedrich Schiller's "Mary Stuart".
- Criteria and strategies for the evaluation of productive student work.
Excerpt from the Book
3.3 drama – specially conceived example for the treatment of Mary Stuart
The treatment of Schiller's drama Mary Stuart is to take place in a basic course of the 12th grade in a project-oriented form of teaching with action- and production-oriented procedures. The project is planned for six weeks, with one double lesson per week. At the end of the project is a visit to a theatre performance. Before the actual start of the project, the class was commissioned to read the drama carefully and to produce cue-like excerpts for the course of the plot, as well as for the main characters, so that the text knowledge can be assumed. This offers the advantage that the students can contribute their own interests and topic suggestions to the text from the beginning and that they can first approach the primary text in their own way and in their own reading speed.
At the beginning of the project is the planning and preparation phase: First, general impressions of the students on the text of Mary Stuart are collected. The question is raised in such an open manner that all opinions and points of view can be expressed. The teacher is still in the moderator role here and collects the contributions on the blackboard, but without sorting or evaluating them. Students can then take the form of a brainstorming Suggest topics that could be worked on as part of the Project on Mary Stuart. Likewise, various possibilities of the forms of work and presentation are collected. Since detailed preparation and planning contradict the student-oriented character of a project, the introduction to the project with the students follows at this point.
Summary of Chapters
1. Introduction: This chapter outlines the central role of action- and production-oriented approaches in modern writing didactics and defines the scope of the work.
2. What is action- and production-oriented literature teaching?: This chapter clarifies the terminology, historical development, and the underlying theoretical frameworks, including reception aesthetics and constructivist approaches.
3. Forms of productive handling of texts: This chapter introduces specific, genre-based methods for engaging students with poetry, epic texts, and drama, concluding with a detailed case study of the play "Mary Stuart".
4. Evaluation of productive tasks: This chapter addresses the challenges of assessing non-normative, creative student work and suggests criteria for fair evaluation.
5. Final thought: This chapter reflects on the benefits and potential criticisms of the productive approach, emphasizing that it does not necessitate a fundamental change in traditional teaching styles.
Keywords
Action-oriented teaching, production-oriented literature, literature didactics, German lessons, reception aesthetics, constructivism, text interpretation, student self-activity, motivation, creativity, Schiller, Mary Stuart, text analysis, media-socialized, learner-centered education.
Frequently Asked Questions
What is the core focus of this work?
The work examines the concept of action- and production-oriented literature teaching, focusing on how students can move from passive reception to active creation when engaging with literary texts.
What are the central themes of the approach described?
The central themes include the promotion of student self-activity, the use of imagination, the fostering of individual interpretation, and the creation of a more holistic, learner-centered classroom environment.
What is the main goal of the research?
The primary goal is to justify the necessity of integrating action- and production-oriented procedures into German curricula and to provide educators with a roadmap for implementation.
What scientific methods are utilized?
The paper relies on a comprehensive literature review of didactic concepts, reception research (Iser), and educational theories, while presenting practical, project-based examples.
How is the main section structured?
The main part of the work covers theoretical foundations (concepts and history), practical applications for different literary genres, and a detailed case study on Schiller’s "Mary Stuart".
What characteristics define this teaching style?
It is characterized by active student engagement, the use of senses and creativity, the avoidance of single "correct" interpretations, and the encouragement of students to produce their own texts based on original literary works.
How does the "Unbundling poems" method work?
Students are presented with verses from two similar but distinct poems and must identify which lines belong to which original work, thereby fostering a deep, content-focused examination.
What role does the student play in the "Mary Stuart" project?
The student takes on an active, autonomous role by brainstorming topics, forming working groups, and deciding on the specific methods of output—such as video reportages or stage adaptations.
Is evaluation possible for creative products?
Yes, though it requires defined criteria agreed upon between teachers and students, focusing on textual reference and coherence rather than normative stylistic rules.
- Citar trabajo
- Nina Bergner (Autor), 2003, Action- and production-oriented literature lessons, Múnich, GRIN Verlag, https://www.grin.com/document/1174195
