Four actors are shut into a car in the center of the stage. Their voices are magnified by microphones, and they ring out into the alighted space of the Croatian National Theater in Zagreb. The cameras situated in the car tape their faces and the video is transferred on the television screens on the proscenium. While the car revolves on a mobile stage, the actors are physically hidden from the audience, but are still so present via technology that they uncover a communication with no conclusions or answers.
The text "Crave" by the contemporary British author Sarah Kane provokes and disturbs, facing the audience with people who stumble around in search of any kind of communication, eternally craving humanity and honesty, love and a deep human relationship. The ŽUDNJA embodied depression and a sense of loss while searching for love in a completely non-intimate grand stage of the CNT in which depression, loneliness and desperation are surrounded by new-media technologies. The play ŽUDNJA was radical in its simplicity and pureness, relying on the abstract nature of the template from beginning to end. With sharp criticism and completely opposing reactions, it also repeated the fate met by the texts of the author herself.