Document Type : علمی - پژوهشی
Abstract
Statement of the Problem and Objective: Critical language awareness is a contemporary pedagogical approach that has gained significant attention for its impact on the quality of language learning. Beyond memorizing vocabulary and patterns or rehearsing superficial communicative scenarios, it cultivates learners who can analyze, debate, and interpret texts within their cultural, social, and historical contexts. In teaching Arabic to non-native speakers, however, many programs still rely on traditional, rote methods that constrain learners’ expressive range and hinder deeper understanding. Drama offers a promising alternative: as a living text that fuses dialogue, interaction, and cultural context, it allows learners to experience language in lifelike situations involving conflict and diverse perspectives. This study investigates the extent to which drama can enhance speaking skills and foster critical language awareness, and whether it can outperform traditional instruction. The applied model is Tawfiq al-Hakim’s play Ṣāḥibat al-Jalālah (Her Majesty), selected for its linguistic and cultural richness.
Methodology: A mixed-methods design was used, combining a descriptive–analytical approach with a quasi-experimental intervention. The sample comprised 30 fifth-year undergraduates at the University of Tehran in the 2020–2021 academic year, purposively assigned to an experimental group (drama-based instruction) and a control group (traditional instruction). The program unfolded in three stages: (1) preparatory—introducing the play’s cultural background and learning goals; (2) interactive teaching—close analysis of selected scenes and discussion of characters and language use; and (3) applied—role-play, dialogue rewriting, and presentation of critical analyses. Pre- and post-tests measured speaking skills and critical awareness. Data were analyzed in SPSS using descriptive statistics (means, standard deviations) and inferential statistics (Kolmogorov–Smirnov, Levene’s test, and ANOVA).
Discussion and Analysis: Drama-based instruction enabled students not only to acquire new linguistic knowledge but also to transfer it to varied, quasi-real contexts. At the speaking level, dramatic dialogues supported accurate pronunciation, appropriate grammatical–pragmatic choices, and richer verbal/nonverbal interaction. At the critical level, discussions of character, event, and theme strengthened logical argumentation, justification of positions, and the ability to situate texts within cultural and social frames. The approach also increased motivation and classroom participation, rendering learning more vivid, enjoyable, and productively challenging. Two practical constraints emerged: some dramatic texts are demanding for intermediate learners and may require adaptation and cultural scaffolding; and instructors need targeted preparation to manage drama activities so they move beyond performance to genuine critical analysis.
Findings: Compared with the control group, the experimental group showed significant gains on three axes: (1) critical expression—deeper analysis of texts and situations; (2) linguistic interaction—greater fluency and use of advanced communication strategies; and (3) critical thinking—stronger links between texts and their cultural–social contexts. These outcomes indicate that drama is not merely entertaining but an effective pedagogical tool for elevating Arabic language learning and cultivating critical language awareness among non-native learners. As such, drama merits strategic adoption in Arabic curricula for non-native speakers.
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