The present chapter is divided in: Beginning of the cenografia; Palco as cenogrfico place; Scene in the TV; Cenografia in the age digital.1.2. Beginning of cenografiPrimeiramente, before treading for the trails of the study of the virtual cenografia, becomes necessary one brief chronological analysis of the development of the cenografia throughout the millenia. In including way one sees that the cenografia was born together with the spectacle, not only with the purpose to fill a space or to decorate an environment, but with the power to communicate in set with the other elements. The first spectacles with the use of scenes had been carried through in old Roman and Greek theaters e, later, in the classic presentations of ballet and opera, amongst others. ' ' The term cenografia (skenographie, that it is the made up of sken, scene and graphein, to write, to draw, to paint, to color) if finds in the texts gregos' ' (MANTOVANI, 1989, p.13).
To cover a line of referring reasoning to the origin of the cenografia and its development until the current days, he is imperious to perceive its use in the theater. For Cogniat (in REDONDO, 1964), to locate itself as apreciador of the cenogrficas productions it is to follow the development of the arts and, even though, of the technology, understanding the innovations in accordance with the effective time. ' ' In the domain of that we occupy in them, the cenografia of the Theater falls, therefore, it enters the hands of skillful manufacturers, but not knowing to renew itself for itself, nor, over all, to enveredarem for a revolutionary, analogous way to the covered one for the other arts, which, however, were closely ligados' '. (COGNIAT, in REDONDO 1964, p.88) Of the above-mentioned words of Cogniat, it is verified that the forceful one affirmation not if distance of the reality, therefore the cenografia in the theater passed for a delicate process due to renewal lack technique of the theatrical designers of this time.