In her autobiographical play, To Be Young, Gifted and Black (1969), the playwright Lorraine Hansberry wrote: “I think that virtually every human being is dramatically interesting.” In our own lives—through our own verbal and body language—we alternate between deprecating and eagerly embracing what it means to be dramatic: “Oh gosh, he is so dramatic,” we accuse! “Yes, honey! I’m absolutely a drama queen,” we might hear someone proudly profess. “D-rahmuh!” we drawl to diagnose a scandalous story. Drama is everywhere around us asserting itself: provoking us, amusing us, challenging us, prompting us, inspiring us, catching the conscience of Kings even—effectively acting on us in some way or another. By reading plays and watching video recordings of some of them (as well as attending at least one theatrical performance), we will attempt to understand what drama does best and uniquely as a literary genre. Toward the end of the semester, we will also consider the various forms drama can take. Where, for example, do we situate a historical reenactment, a staged protest, a walk down the runway of an underground ballroom, or a flash mob in an Introduction to Drama course? Our encounters may include, but are not limited to, plays by Tennessee Williams, Lorraine Hansberry, August Wilson, David Henry Hwang, Quiara Alegría Hudes, and Jackie Sibblies Drury.