Controversial director Ljubiša Ristić takes helm at Belgrade's Atelje 212 theater

Acclaimed director Ljubiša Ristić has been appointed the acting director of Belgrade's Atelje 212 theater, marking his return to a prominent leadership position after nearly three decades. The decision, confirmed by the Belgrade City Assembly in late July, has ignited strong reactions from parts of the public and cultural circles, with Ristić asserting his intention is to safeguard the institution rather than engage in political disputes.

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They approached me and suggested I help solve the problems that Belgrade theaters have. Atelje 212 is an important place that deserves everyone's attention.

This appointment comes after more than twenty years off the Serbian public broadcaster's programming and nearly thirty years since his last tenure leading a major theatrical institution. Ristić, who has directed over fifty productions, founded the renowned KPGT, and contributed to numerous theater festivals across former Yugoslavia, views this as a new chapter in his long and often controversial career. However, his return has met resistance within the theater itself, with the ensemble ironically acknowledging the city authorities' "consistency" in cultural policy.

When questioned about his plans for the theater, which recently concluded a successful season with multiple awards, Ristić emphasized that his focus is not on artistic results but on the precarious position of public cultural institutions. He argued that theaters, like universities, face significant challenges and that the state must protect its established and funded entities. His statement, "private theaters cannot be made with state money," has been interpreted as a critique of the current cultural landscape and a signal of his intended direction for Atelje 212.

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I didn't come to lead battles, but to discipline the authorities.

Ristić has denied claims that he aims to impose discipline on the staff, stating his mandate is not to "discipline artists" but to "discipline the authorities." Despite being known for his political theater, he stressed that theater should not become a political platform for imposing views. "Politics can be a subject of theater, but it is not its goal. Theater is not a place where revolutions are made," he stated, also criticizing the practice of actors publicly expressing political views after performances.

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Politics can be a subject of theater, but it is not its goal. Theater is not a place where revolutions are made.