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In Ogrizović’s descriptions of Branko Gavella’s directing procedures, we can follow the director’s affirmation from the moment when he left the literalness of naturalistic details and the stylistic characteristics of Reinhardt’s directing method, relying instead on the practice of his predecessor Ivo Raić. Ogrizović encourages the director’s selection of certain stage expressionism qualities, considering it a space in which Gavella handles himself extremely well and expresses himself most effectively, also regretting the moments of the director’s withdrawal from penetrating expressionistic stage pictures while contemplating a template that naturally awaits such representative intervention.