Dramaturgy, in its many forms, is a fundamental and indispensable element of contemporary theatre. In its earliest definition, the word itself means a comprehensive theory of "play making." Although it initially grew out of theatre, contemporary dramaturgy has made enormous advances in recent years, and it now permeates all kinds of narrative forms and structures: from opera to performance art; from dance and multimedia to filmmaking and robotics.

In our global, mediated context of multinational group collaborations that dissolve traditional divisions of roles as well as unbend previously intransigent rules of time and space, the dramaturg is also the ultimate globalist: intercultural mediator, information and research manager, media content analyst, interdisciplinary negotiator, social media strategist.

This collection focuses on contemporary dramaturgical practice, bringing together contributions not only from academics but also from prominent working dramaturgs. The inclusion of both means a strong level of engagement with current issues in dramaturgy, from the impact of social media to the ongoing centrality of interdisciplinary and intermedial processes.

The contributions survey the field through eight main lenses:

• world dramaturgy and global perspective
• dramaturgy as function, verb and skill
• dramaturgical leadership and season planning
• production dramaturgy in translation
• adaptation and new play development
• interdisciplinary dramaturgy
• play analysis in postdramatic and new media dramaturgy
• social media and audience outreach.

Magda Romanska is Visiting Associate Professor of Slavic Languages and Literatures at Harvard University, Associate Professor of Theatre and Dramaturgy at Emerson College, and Dramaturg for Boston Lyric Opera. Her books include The Post-Traumatic Theatre of Grotowski and Kantor (2012), Boguslaw Schaeffer: An Anthology (2012), and Comedy: An Anthology of Theory and Criticism (2014).

戏剧创作，以其多种形式，是当代戏剧的一个基本和不可缺少的元素。在其最早的定义中，这个词本身意味着 "戏剧制作 "的综合理论。尽管它最初是从戏剧中发展起来的，但近年来，当代戏剧学取得了巨大的进步，现在它已经渗透到各种叙事形式和结构中：从歌剧到表演艺术；从舞蹈和多媒体到电影制作和机器人技术。

在我们的全球范围内，在多国团体合作的中介背景下，解散了传统的角色分工，也改变了以前顽固的时间和空间规则，戏剧家也是最终的全球主义者：跨文化调解人、信息和研究经理、媒体内容分析师、跨学科谈判者、社会媒体战略家。

这本文集聚焦于当代戏剧创作实践，不仅汇集了来自学术界的贡献，也有来自杰出的职业剧作家的贡献。两者的加入意味着对当前戏剧学问题的强烈参与，从社会媒体的影响到跨学科和中间过程的持续核心地位。

本书通过八个主要视角对该领域进行了调查。

世界戏剧学和全球视角

作为功能、动词和技能的戏剧性

戏剧性的领导和季节规划

翻译中的戏剧化生产

改编和新剧开发

跨学科戏剧学

后戏剧和新媒体戏剧学的剧本分析

社会媒体和观众推广。

玛格达-罗曼斯卡是哈佛大学斯拉夫语言和文学的客座副教授，艾默生学院戏剧和戏剧学的副教授，以及波士顿抒情歌剧院的剧务。她的著作包括《格罗托夫斯基和康托尔的后创伤性戏剧》（2012年）、《博古斯瓦夫-谢弗。An Anthology (2012), and Comedy: 喜剧：理论与批评选集》（2014）。