Other directors and companies which performed on BITEF include Eugenio Barba, Steven Berkoff, Dejan Mijač, Pyotr Fomenko, Teatro Núria Espert, Pip Simmons Theatre Group, Ellen Stewart and La MaMa while authors Samuel Beckett, Jean Paul Sartre and Eugène Ionesco attended performances of their plays. France In the first half of the 1980s, Trailović lived in France for several years. In 1983-84 she worked in Theatre of Nations in Paris and was an artistic director of the International theatre festival in Nancy. BITEF Teatar In 1989 she founded a new theatre, "BITEF Teatar", and became its manager. Theatre is seated in the never fully finished nor consecrated German Evangelical church in Belgrade's neighborhood of Dorćol. Construction began in 1940. It was projected by Otto Bartning and developed and supervised by Đorđe Staševski, who partially changed the interiors in 1943 in the projected residential section of the church, facing the Drinčićeva street. The works stopped in 1951. The building was renovated to accommodate the new theatre in 1988-89. It is considered to be the unique case that, instead of a theatre founding the festival (like Atelje 212 did with BITEF), in this case, the festival founded a theatre. The theatre was opened on 3 March 1989. It was envisioned without having a permanent staff. The idea behind the creation of BITEF teatar was to organize the BITEF festival and to expand the effects of the festival throughout the year, and not only in the period when BITEF was held, but Trailović died later that same year. Among the managers who inherited her at the helm of the theatre were playwright Nenad Prokić (1997-2005) and theatrical director Nikita Milivojević (2005–09). The building of the "BITEF teatar" was declared a cultural monument by the Serbian government in April 2013. Television She also adapted and directed over 15 TV dramas, including The Browning version by Terence Rattigan (1973), Exiles by James Joyce (1973), Nora by Henrik Ibsen (1975) and A Novel about London by Miloš Crnjanski (1988). Aired on 19 January 1972, her adaptation of Albert Camus' The Misunderstanding was the first TV drama in Serbia recorded in TV studio, and the first one aired in color. Style and image In her work, molded by her Balzacian talent, Trailović exhibited strong disposition towards the avant-garde repertoire, though she always rejected the term itself, asking "And what is avant-garde?". She constantly baffled and surprised, both the