We find ourselves in front of a hidden box, there is a long table before us, the light is scarce and in a half-dimmed hall, the silence is vibrating and alternating with the murmur, penetrating from the audience. The actors are in readiness. Their costumes smell of the burnt. Their faces are tense, stiff and fragile. The first voice cuts the air as a blade. The space of acting grows concentrated and we are already in the performance.

Tirza is a confrontation between the theatre and psychoanalysis, which brings out of the spectator the connection between the stage and the phantasm, between the direction and construction, between the theatrical act and primitive scenes. This time the interest of Pograjc is centred on the very essence of the theatre.

Tirza is a paradoxical operation, which establishes simultaneously two complementary shifts: metamorphosis and the performed acting. The actor looks as if in reality he lived in another body. From there the frame in the beginning, which literally says: This is me, signalling immediately after that with a simple gesture: I am somebody else. The actor passes from his own being into another one. Gestures, voice and body evade him and belong to the role, to the character, whose manifestation is different from his own. In Tirza there is no direct theatrical identification, it is transformed into metamorphosis (transformation of one form into another). Robert Abirached in his Crisis of the character in modern theatre explains this theatrical transformation with a specific dramatic procedure.

A dramatist does not write the text, but replicas of characters. A theatre performance “offers to the spectator doubles of the characters who are neither the actors nor the characters themselves”. Actors in Tirza do not revive dramatic persons but offer them their mediation.