Koštana abounds in simultaneous events. Almost during the entire duration of the stage action, music, song and sounds of the street come from the offstage space. However, due to their simultaneity with the events of the stage presentation, they do not decisively affect the development of the plot. As a rule, they are part of the sound curtain, ambient background, artistic ornamentation and realistic confirmation of what the characters are saying in front of the audience.

Јana Maričić and the ensemble of the Niš National Theater make a fundamental shift in the conception of the relationship between the characters of Mitke and Salča. Their relationship, or rather their unfulfilled love from the past, is the realistic motive for initiating the action and the prism through which all other thematic axes of the conflict are refracted. In this way, the character of Koštana overcomes her inhibitions, derived from the framework of realist literature “study from life” and mirage eroticism.

Jana Maričić at the beginning of the second decade of the 21st century, felt the need to point out the fact that at all levels of the social order people live, are alike. All the more, the tragedy of Koštana of the Niš National Theater becomes a tragedy of society.