This article aims to analyze the modifications that the theatrical field underwent during the pandemic, a moment in which multiple companies undertook a technovivial exploration that generated a new type of creation known as Zoom theatre, using the screening of Inusual en Casa as a case study. Based on the event concept proposed by Fischer-Lichte as a theoretical framework, we propose that certain technical decisions that were implemented in the transmission of the plays were decisive in allowing the appearance of the autopoietic feedback loop, a constitutive element of the performing arts that defines them as such. The change in the media implied putting one of its essential components in crisis, such as the collaborative process of meaning. Since theatre is a discipline characterized by the co-construction of the aesthetic object through the interaction of its participants, considering this aspect is relevant.