It took a long time to bring the theater to center stage Internet. As a new series of plays behind approached a waste of time, the authors discuss the opportunities and challenges

is a truism that the Internet has changed everything: how we work, how we communicate, the way we consume, and even - as we said - what we think. Within a decade, our average weekly consumption of the Internet has jumped from 90 minutes to 15 hours, the site has caused revolutions, knowledge and cats and chubby Koreans offered equal renowned

So why theater rarely addressed the issue? This is an issue discussed at the Royal Court in London, where the Internet is the subject of this winter season bad cuts short works, with a new work by young British writers. Nick Payne has created a piece riffs seemingly infinite capacity of the Web to distract, Alia Bano wrote about BlackBerry Messenger and Penelope Skinner addressed the anonymity and trolling. Meanwhile, another writer, EV Crowe, whose hero won applause in the court last year, bravely explore the technology of search engine.

But the theater, to a certain extent, before exploring the Web. In 1997, Patrick Marber says Closer Clive Owen and Ciaran Hinds sat at opposite ends of the National Theatre Cottesloe cybersex - although now says Marber confusion: "As a preview, at least half the audience had no idea what they were seeing. Nobody had done before. When we heard the actors, some went, 'Oh, is this thing on the Internet? "

few years later, in 2003, Lucy Prebble's syndrome sugar looked at the multitude of temptations - mostly pornography - available online, while three years later, Enda Walsh showed stimulated suicide Chatroom by cyberbullying. The playwright Simon Stephens recalls and sugar syndrome: "It was the first time I heard the tinkling of Microsoft on stage this time, I felt quite radical.".

But only rarely addressed the issue head theater. Last year, love Caryl Churchill skewers information and Internet age atomized (only 110 minutes, containing 57 scenes and over 100 functions), but despite the scenes titled Google and Twitter, the game almost never directly mentioned nowhere - a signal both in terms of reliable networks, once when a record insomniac Facebook, and even when a character is sacked by email.

A barrier for writers, Marber says, is the fear of appearing immediately updated. "It is too late to write the Twitter work. Been a couple of years ago, someone could write a work consisting of tweets, but now feels a bit:" Oh, really? "While the room Cat Closer date seems now almost as infamous as the "pip-pip-pip" charged phone calls between adulterers in Betrayal by Harold Pinter.

Adam Brace time and continuous City Builders Association, insisted on Skype, while Dutch artist Dries Verhoeven have a life streaming in 2010, linking the members of the live audience with artists from Sri Lanka affected by the tsunami. And regardless of Edinburgh last year, two Belgian artists collective Ontroerend goed produces a disturbing piece, XXXO, who had tears in cheesy photos online before taking self-portraits digital.

Although computer screens and buttons may not seem dramatic, even over the web expert can produce a surprisingly rich theater. Hippo in Guestbook 2007 World Chris Goode sniper theatremaker recited a transcript of a hippo fan forum online. What began as naive and utopian ("heart, I hippos") became a series of meetings with the trolls, before ending up in the spam generated by computer - a powerful metaphor that concern the history of the site

Although Stephens preferred to maintain the site just off the stage, his works often affect more doubtful of life online. One of his characters as a hobby googling quotes online pornography is a recurring topic of conversation. "It is in the metabolism of a large number of parts in the background," he said. "It affects the way you write the characters are more dislocated and narcissistic."
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