Sandra Vujović, Director of Podgorica City Theatre
From tradition to contemporary poetics: Podgorica City Theatre as a space of encounter, innovation, and international visibility
At a time when cultural institutions across Europe are confronting the challenge of redefining their roles in contemporary society, jubilees such as seven and a half decades of existence represent rare and precious moments of reflection, but also of a clear forward gaze. It is precisely such a moment that Podgorica City Theatre is marking an institution that for 75 years has shaped the cultural identity of the capital and actively participated in the development of Montenegro’s artistic scene. From its founding in 1951 in the then Titograd to the present day, the theatre has grown into a space of encounter between tradition and contemporaneity, a place where artistic excellence is cultivated and where the doors are open to new generations of authors and audiences. In the context of contemporary global currents, its role transcends the local frame it is becoming an important actor in cultural diplomacy and part of a broader international exchange of ideas, aesthetics, and values. On this significant jubilee, we speak with the Director of Podgorica City Theatre, Sandra Vujović, about the legacy that carries an obligation, the challenges shaping contemporary cultural management, and a vision for the future in which theatre remains one of the essential spaces for dialogue, critical thought, and creative exchange.
INSTITUTIONAL TRADITION AND CONTEMPORARY CHALLENGES
Podgorica City Theatre is celebrating its 75th anniversary. How would you define its role in the social and cultural development of Montenegro?
Throughout its 75 years of existence, Podgorica City Theatre has been far more than an institution it is a living organism that breathes, changes, and matures alongside the city. From its founding in 1951 in the former Titograd to the present day, it has been and remains one of the key pillars of cultural life, a meeting point of audiences and art, as well as a space where generations of both spectators and creators are shaped. Its distinction lies in its ability to embrace different ages and sensibilities from the youngest, through drama an d puppet stages, to adult audiences in evening performances. Today, with the new Index stage, this space further opens itself to young authors, their initial voices, and new poetic expressions, which I consider vitally important for the future of theatre. Over the decades, the City Theatre has developed a rich and diverse repertoire, cultivating both classical and contemporary works and actively shaping the theatrical arts in Montenegro. But what truly defines it is continuity a persistent willingness to evolve, to respond to its time, and to remain relevant, close to, and needed by its audience. I would therefore say that its role today is just as vital as it was 75 years ago: to be a space for dialogue, emotion, and reflection, as well as a secure place where culture grows alongside society.
What does this jubilee symbolically signify is it a retrospective or the beginning of a new developmental phase?
This jubilee is not just a reflection of the past, but most importantly, a daring leap forward. Naturally, 75 years of existence embody a profound respect for tradition, for everything that has been created, and for the generations that have shaped the City Theatre’s identity. Yet, we also see this moment as the start of a new phase of development. In this sense, the City Theatre today deliberately broadens its scope, embracing new forms, modern aesthetics, and diverse creative voices. It is especially significant to us that we remain engaged in the present era and actively seek new audiences. We aim for a stage expression that is modern, communicative, and captivating, whilst remaining artistically meaningful. Our goal is a theatre that resonates equally with the young and those who have supported us for decades. It is precisely in blending tradition with contemporaneity that we find our future growth and the true significance of this jubilee.
CULTURAL DIPLOMACY AND INTERNATIONAL COOPERATION
In the contemporary context, culture is an important segment of “soft power.” To what extent can theatre contribute to the international image of a country?
In the modern world, culture is truly one of the most subtle yet powerful tools of “soft power,” and theatre in this context holds a special position. Unlike many other forms, it conveys direct, living emotion and a universal language that crosses borders, languages, and political boundaries. Theatre can greatly enhance a country’s international image through the quality, authenticity, and courage of its expression. When productions travel to festivals, when we undertake co-productions or collaborate with international artists, we are not just representing one institution, but the entire cultural identity of our country. For Montenegro, which is small but rich in cultural layers, this is an especially important space for visibility. Through contemporary, relevant, and artistically impactful productions, we can shape the image of a country that is open, creative, and engaged with the world. I believe that the role of theatre in this context is multifaceted it serves as an ambassador, a bridge, and a place of encounter. Every high-quality artistic act originating here has the potential to become part of a broader, international cultural landscape.
How significant are international co-productions, festivals, and regional exchanges for the positioning of the Montenegrin scene?
International co-productions, festivals, and regional exchanges are vital for establishing the position of the Montenegrin scene. They not only provide visibility but also serve as a testament to quality, offering a space for exchanging ideas and allowing our artists to participate in a wider international context. It is especially important to highlight that this is where generations of exceptionally talented dramatic artists develop and actively create, as evidenced by the numerous awards they consistently receive at international festivals. This is no coincidence but rather the result of serious, dedicated work and genuine artistic expression. Therefore, the region and the world must recognise that even in a small country like ours, a vibrant, high-quality, and relevant artistic scene can flourish. Though our size may be modest, in terms of artistic potential and achievements, we are truly a significant artistic force.
Is there potential for closer connections between cultural institutions, the diplomatic corps, and international organisations in Montenegro?
Absolutely, I would argue that this is one of the most significant potentials yet to be more actively developed. Cultural institutions and the diplomatic corps naturally operate within the same realm when it comes to international exchange, understanding, and the representation of a country abroad. Theatre, like other artistic expressions, can serve as a highly effective tool of cultural diplomacy, a space where different cultures, languages, and perspectives meet. It is precisely through collaboration with embassies and international organisations that we can open new channels for co-productions, guest performances, residency programmes, and artist exchanges. In Montenegro, this space exists, but I believe we can utilise it much more intensively and strategically. This requires long-term partnerships, joint programmes, and a clear realisation that culture is not only an internal value of society but also a vital instrument of its international positioning. Strengthening this connection will yield a twofold benefit: our artists will have a broader field of activity, and Montenegro will possess a stronger, more recognisable, and more authentic voice on the international cultural stage.
THE CREATIVE SECTOR AS A DEVELOPMENTAL RESOURCE
Creative industries today constitute a significant economic sector in Europe. Is culture also increasingly recognised as a developmental platform in Montenegro?
Creative industries today unquestionably represent a vital economic and developmental sector across Europe, and it is heartening that in Montenegro, too, culture is increasingly being recognised in this way. There is a visible and growing awareness of its potential, along with increased investment, which marks an important step forward. Nonetheless, our role as cultural managers is to continually enhance this process, advocating for improved working conditions, more stable financing models, and stronger support for artists and cultural workers. Without quality conditions, sustainable development cannot be achieved. Culture, in essence, is the identity of a society it is through culture that we are recognised, remembered, and that we communicate with the world. That is why it is crucial to see culture not only as a value, but also as a strategic resource that can promote both economic and broader social progress.
How challenging is it to run a cultural institution within budget limits and the necessity for increased production?
Managing a cultural institution today involves constantly balancing real budgetary constraints with the need for artistic and production growth. This is indeed demanding, but it also opens space for creativity—not only on stage but also in how we plan, organise, and develop projects. Limited resources often push us to be more inventive, seeking new partnerships, co-productions, and alternative financing methods. It is precisely in these circumstances that managerial responsibility grows—requiring careful, strategic, and long-term thinking about every aspect of production. At the same time, the desire for growth is natural, both artistically and organisationally. Audiences expect quality, relevance, and continuity, which necessitate investment and development. Therefore, the key is to find a sustainable model that allows for both stability and progress. I believe the greatest challenge is finding the balance: staying true to artistic standards and vision while operating within real financial limits. When that balance is achieved, constraints can serve as a motivation to create something authentic and valuable.
Is there adequate systemic support for developing domestic authors and young artists?
Systemic support is never sufficient. It must continuously grow and adapt alongside the needs of the modern artistic scene. This is an ongoing process that cannot be completed but is constantly rebuilt and enhanced. One of our primary responsibilities as leaders of cultural institutions is to actively create space for the development of domestic writers and young artists. This requires not only production conditions but also opportunities for research, experimentation, visibility, and professional growth. It is crucial that we offer young creators continuity rather than occasional chances, because it is from such continuity that strong authorial voices arise—voices that eventually shape the entire scene. I would therefore say that support exists, but our aim is to strengthen it further, make it more accessible, and sustain it more robustly for without investment in young authors, there is no future for culture.
REPERTOIRE AND SOCIAL RESPONSIBILITY
How do you select the repertoire is the priority artistic aesthetics, social topicality, or a balance of both principles?
The City Theatre’s repertoire is not chosen based on a single exclusive principle but through a carefully maintained balance between artistic aesthetics, social relevance, and the needs of the ensemble itself. The process often begins with defining a thematic framework that guides the season’s direction. Within this framework, we select projects that, through their quality, authorial signature, and message, align with the theme while also allowing the ensemble to develop, explore, and grow artistically. Since the City Theatre communicates with audiences across different generations, this aspect is especially important to us. We therefore aim for a diverse repertoire — in genre and scenic forms — to both retain the existing audience and attract new viewers. It is in this delicate balance that we find the strength of our repertoire policy: to be thoughtful, relevant, and open to a variety of artistic expressions and audiences.
Do you consider that theatre should be a space of social critique and dialogue?
Absolutely. Theatre has always been a space for social critique and dialogue, a place where society reflects on itself. Today, more than ever, it remains a powerful mirror and correction of reality, one that guides audiences towards deeper understanding and change. The only theatre that does not leave us indifferent is good.
How can a new, younger audience be attracted in an era of digital platforms and evolving cultural habits?
Attracting a new, younger audience starts from the earliest age. Attending the theatre is a habit formed in childhood, which is why programmes for young children are vital for the long-term growth of audiences. Simultaneously, in the digital communication age, we must engage where the audience is through social networks and modern channels to bring theatre closer, increase visibility, and make it more relevant to new generations.
VISION OF THE FUTURE
Where do you see Podgorica City Theatre in the next ten years?
At the very pinnacle of the international stage, it is a significant and prominent arena that unites authors and audiences from all corners of the globe. Art recognises no borders and serves as a universal means of communication among diverse cultures. Art is the language through which we all understand one another.
Which project or initiative would you single out as a strategic priority in the coming period?
As a key strategic priority, I would highlight the further development and positioning of the Index stage as a space dedicated to young authors and contemporary authorial poetics. In this context, initiatives such as the Open Call for authors and authorial teams are also extremely important to us, enabling the theatre to identify new voices, their artistic sensibilities and interests, and to incorporate them into production processes systematically. A special emphasis is placed on the development of the Jagoš Marković Festival of Theatre Direction, which, as of this year, takes on a competitive character and, consequently, has the potential to become a significant regional and international meeting point for contemporary theatre and directorial poetics. Meanwhile, we have already begun concrete collaborations with renowned European theatres, which we will further deepen in the coming period through co-productions and joint projects. It is precisely in this fusion of support for young authors, the development of a festival platform, and the strengthening of international partnerships that we see the strategic direction for the City Theatre’s future growth.
What message would you like to convey to the cultural audience and international partners on 75 years of work?
Although decades of history, work, and artistic legacy lie behind us, we see Podgorica City Theatre today as a modern, vibrant, and contemporary institution whose best days are yet to come. Building on that strong tradition, we are fostering new artistic innovations, embracing dialogue and cooperation, and cultivating bold authorial voices that are shaping the future of theatre. Our message to the cultural community and international partners is clear yet impactful: we continue to grow, connect, and create a space where art holds meaning, power, and responsibility. For us, theatre is not just a stage, but a community, a meeting place, and a catalyst for change and it is precisely this kind of theatre that we wish to share with the world.