initially being an assistant manager (shortly acting in 1958) and in 1961 she became Atelje's manager, shifting its focus to the avant-garde plays. Trailović herself directed over 20 plays, including some authors whose works were never before played in Serbia and Yugoslavia, like Jean-Paul Sartre (No Exit) in 1957, Eugène Ionesco (The Chairs) in 1957, Albert Camus (The Misunderstanding) in 1960 and Edward Albee (Who's Afraid of Virginia Woolf?) in 1964. Other plays include Don Juan in Hell (by George Bernard Shaw; 1956), Medal (adapted folk tales; 1957), L'Histoire du soldat (Charles-Ferdinand Ramuz; 1959), Tchin-Tchin (François Billetdoux; 1960), The Fantasticks (Tom Jones; 1962), The Cocktail Party (T. S. Eliot); 1965), Marat/Sade (Peter Weiss); 1966), Next time I'll sing to you (James Saunders; 1968), Jumpers (Tom Stoppard; 1974), The miracle in Šargan (Ljubomir Simović; 1975), The Mother (Stanisław Ignacy Witkiewicz; 1982), Big and Little (Botho Strauß; 1985), and Demons (Lars Norén; 1987). Major controversy, however, was caused by her staging of the Hair, which was prepared in 1968 and premiered in 1969. A rock-musical, composed by Galt McDermot, with lyrics by Gerome Ragni and James Rado, stirred not just the highest political and artistic circles, but also the common people. Heavily shook and agitated by the student protests of 1968, the Communist governing class and its diehards attacked the musical as subversive, due to its hippie and anti-establishment attitude. It had such an impact, that it has been debated even today. Under her artistic and managerial guidance, though not a directorial one, Atelje 212 also presented for the first time in Serbia works of Samuel Beckett (Waiting for Godot) in 1956 (first staging in Eastern Europe), William Faulkner (Requiem for a Nun) in 1958, Sławomir Mrożek (The Police) in 1960, James Joyce (Exiles) and Tadeusz Różewicz (The Card Index), both in 1962. Also, she oversaw staging of contemporary Serbian authors’ works, like those of Aleksandar Popović, starting with Ljubinko and Desanka in 1964, and Dušan Kovačević, with The Marathon Family and, especially, Radovan III, both in 1973, which is with Atelje's "Ubu Roi" by Alfred Jarry (1964; both starring Zoran Radmilović), considered anthological in the history of Serbian theatre. Atelje 212 gained international reputation. It was the first theatre from Yugoslavia that was invited to the United States after World War II, and toured the world (Paris, New York, Moscow, Caracas, Mexico). Trailović retired in 1983 as a manager, as she