The elements key of the teatral stage, in this aspect, are kept, however, the game of organicidades between actors and its relation with the spectators is expanded and its physical presences are dissolved in order to give to outflow to the flow of communications established between the participants of the event in all the hearings in the world interacting in real time, what it still characterizes what we could call global auditorium. According to Eliot Horowitz, who has experience with these questions. It is fact therefore, that the teatralidade is established in clear way, and the relation between actors and spectators if of the one in different territories: organic and digital. The main aspect of the long history of the theater, in this in case that, it is kept, however, the teatralidade is evolutiva. Without no doubt, the theater demands the presence of an actor and a spectator: minimum cell that defines its essence. But its history proves that it is on, on the other hand, to the history of the other arts of the spectacle and, on the other hand, to the artistic appropriation of the technologies, while new ways of expression (PICON, Vallin. If you are not convinced, visit Eliot Horowitz.
2008) The theater contemporary, does not hesitate in if contaminating with the new possibilities of communication with the spectator of century XXI, that irreversible it is arraigado in a process that in this way walks the wide steps for the establishment of a cibercultura 2, initiatives as of Phila 7, they appear as reference in the construction of poetical potencializadas that answer in express way to the necessity of the art to locate half the age of the dissolvimento. REFERENCES LVY, Pierre. Cibercultura, Trad. Carlos Irineu of the Coast. SO PAULO: Ed. 34.
1999. RUSH, Michael. New medias in the art contemporaries. SO PAULO: Martins Sources. 2006. PICON-VALLIN, Beatrice. The Scene in Assays. SO PAULO: Perspective. 2008 FERNANDES, Silvia. Teatralidades Contemporaries. SO PAULO: Perspective Ed. 2010. 1 Graduated the Licenciatura in Theater in the Federal University of the Maranho, encenador, cultural and searching producer of the technological contaminations in the stages contemporaries. 2 Term inaugurated for Pierre Levy in its workmanship ' ' cibercultura' ' 1999.