This article raises an issue of participatory strategy of the Maria Klassenberg. Home choreographies' virtual spectators and participants. The author uses the performance as research method in order to analyze the workshop environment behind the official record of the spectacle which took place in Internet via Zoom platform. The starting point is the consideration if the show meets Nancy Fraser's terms of participatory parity. This paper also discusses the consequences of the oculocentric structure of the performance's virtual community using Guy Debord's concept of society of the spectacle and Bojana Kunst's diagnosis of associations between art and capitalism.
keywords in Polish:
wspólnota wirtualna, krytyka instytucjonalna, relacje władzy, równość uczestnictwa, performans partycypacyjny