audience and the critics, with her ideas, innovations and seemingly inexhaustible energy and persistence. Because of the acuteness of hers, endless charm and talent for persuasion, she was nicknamed "bulldozer in a fur coat". Her activities were always followed by controversial reactions and urban myths. Refreshing spirit of the avant-garde wasn't accepted well by the Communist authorities. Press was full of malicious comments and stories how young actors were terrified of her, labeling her "a woman with 24 smiles" while her outfits during public appearances were under scrutiny to the last detail. She herself said that "Yugoslav journalists trained her not to get accustomed to praises and compliments". Her closest collaborator Ćirilov called her "the ruler of the arts", while Ionesco, when asked what he has seen in Belgrade when he visited in 1971, replied: "I saw Mira Trailović. Isn’t that enough?". Personal life While working in Radio Belgrade, she met Dragoljub Trailović, a fellow speaker from 1947, and they got married. Born on 3 May 1925 in Prahovo, eastern Serbia, he left Radio Belgrade in 1955 when he became a commentator for the daily Borba until 1959 when he was appointed an editor-in-chief of Radio Television Belgrade until 1962. He later became a correspondent from Paris for the daily Politika and, as a respected journalist, was editor-in-chief of Politika Ekspres and Politika itself 1982-83. They remained married until Mira's death on 7 August 1989. Dragoljub died on 3 June 1993 in Belgrade. The couple had no children. Her sister Olga Milićević Nikolić is a well-known architect, who reconstructed some of downtown Belgrade's landmarks like Andrićev Venac (1976), Republic Square (1980) or Nikola Pašić Square (1987), but also projected residential blocks 28, 45 and 70 in New Belgrade (1972), Lešće cemetery (1972) and the Stepin Lug wooden area (1972). Legacy From modern perspective, it is hard to imagine how much of a courage and personal vision was needed at the time to modernize the theatre against the major opposition from the ideological, cultural and artistic establishments. As a director and manager, Trailović often appeared as a Don Quixote tilting at windmills, fighting against the "narrow minds", with the constant idea of "bringing the world to Belgrade and showing Belgrade to the world". Through Atelje 212 and BITEF, she marked the beginning of a new era in Serbian theatre. On one side, she deprovincialized the theatrical scene in Belgrade and Serbia