The performance takes place in a box filled with soil in the public urban space of the city square. The author spends six hours in the mud playing with it. Playing in the sand, or soil in this case, the author connects with her early childhood. Making mud cakes, building tunnels, streams, digging the land and unwittingly enjoying the contact with “dirt”, in the world of adults, the play gets a new meaning. "The consumption" of the soil points to the quagmire in which we find ourselves in a metaphorical sense, and raises the question of what we are making of that mud. Through the interaction with the audience, the author gives the viewers the pleasure of a forgotten game, but also the sobriety of the disgust of the present state. The awareness about the struggle for existence and rights, for values that are so elemental and accessible, provides a new insight into the absurdity of the situation in which we live in. Our sinking in live mud, in this case is the excuse for playing. The fact of being in the mud and the fact of feeling happiness in the same puddle, are the factors that provoke the viewer. The key is the way in which the "clean ones" looks at the person in the mud, whether it is a feeling of attraction or disgust.