Todorović began acting during high school by enrolling in and completing the Artistic Theatre's acting studio in Belgrade, where she soon began acting professionally in 1940 after being noticed by Viktor Starčić.
In 1941 she moved to Belgrade's National Theatre.
Her early career, just like her personal life at the time, centered around then popular and established actor Milivoj "Mavid" Popović who became her husband in 1943.
The couple had a daughter Mina before their four-year marriage ended.
During and after World War II, she acted in theatres in Šabac (1943–45) and Niš (1945–47), after which she returned to the National Theatre in Belgrade.

In 1948, she got invited to the newly established Yugoslav Drama Theatre (JDP) by Bojan Stupica, tour de force of Serbian theatre who was in charge of creating JDP and making it the forerunner of the modern theatre in the state.
Remaining at JDP on and off till 1970, she often changed theatre houses, though: 1955–57 Croatian National Theatre in Zagreb, JDP again 1957–59, then National Theatre in Belgrade 1959–63, JDP again 1963–70, and finally National theatre in Belgrade 1970–79.
She guested in Atelje 212, Belgrade Drama Theatre, Zvezdara Theatre, and Titograd's National Theatre.
On European tour she won international acclaim as Petrunjela in Dundo Maroje by Marin Držić in Vienna, Paris and Moscow.

Her work at JDP with Bojan Stupica and their subsequent marriage had a seminal influence on Mira’s maturity as an actress.
She was known for her rich expression, emotivity, and inspiring temperament as well as for possessing universal aptitude toward acting, which allowed her to equally master both dramatic and comedic roles, and to successfully breaks barriers between genres.
Many of her performances are considered to be anthology roles in Serbian theatre.

Apart from Petrunjela, others include: Živka (The Cabinet minister’s wife by Branislav Nušić), Joan of Arc (Saint Joan by George Bernard Shaw), Colombe (by Jean Anouilh), Grusha Vashnadze (The Caucasian Chalk Circle by Bertold Brecht), Lucietta (Le baruffe chiozzotte by Carlo Goldoni, Commissar (An Optimistic Tragedy by Vsevolod Vishnevsky), Glorija (by Ranko Marinković), Mirandolina (The Mistress of the Inn by Carlo Goldoni), Melita (Leda by Miroslav Krleža), Signora Ignazia (Tonight We Improvise by Luigi Pirandello), Mary (Mary fights with the angels by Pavel Kohout), Chérubin (The Marriage of Figaro by Beaumarchais), Ljubica (Đido by Janko Veselinović), Grushenka (The Brothers Karamazov by Fyodor Dostoyevsky), Alexandra Negina (Talents and Admirers by Aleksandr Ostrovsky), Danica (Ljubav by Milan Đoković), Madame Sans-Gêne (by Victorien Sardou), Actress (L'Otage by Paul Claudel), Baroness Castelli-Glembay (Messrs. Glembay by Miroslav Krleža), Nastasya Filipovna (The Idiot by Fyodor Dostoyevsky, Jenny Diver (The Threepenny Opera by Bertrold Brecht), Anna Karenina by Leo Tolstoy, and Lady Milford (Intrigue and Love by Friedrich Schiller).
Her final role was Princess Ksenija of Montenegro in the drama of the same name by Radmila Vojvodić in 1994.
Todorović began acting during high school by enrolling in and completing the Artistic Theatre's acting studio in Belgrade, where she soon began acting professionally in 1940 after being noticed by Viktor Starčić. In 1941 she moved to Belgrade's National Theatre. Her early career, just like her personal life at the time, centered around then popular and established actor Milivoj "Mavid" Popović who became her husband in 1943. The couple had a daughter Mina before their four-year marriage ended. During and after World War II, she acted in theatres in Šabac (1943–45) and Niš (1945–47), after which she returned to the National Theatre in Belgrade.
In 1948, she got invited to the newly established Yugoslav Drama Theatre (JDP) by Bojan Stupica, tour de force of Serbian theatre who was in charge of creating JDP and making it the forerunner of the modern theatre in the state. Remaining at JDP on and off till 1970, she often changed theatre houses, though: 1955–57 Croatian National Theatre in Zagreb, JDP again 1957–59, then National Theatre in Belgrade 1959–63, JDP again 1963–70, and finally National theatre in Belgrade 1970–79. She guested in Atelje 212, Belgrade Drama Theatre, Zvezdara Theatre, and Titograd's National Theatre. On European tour she won international acclaim as Petrunjela in Dundo Maroje by Marin Držić in Vienna, Paris and Moscow.
Her work at JDP with Bojan Stupica and their subsequent marriage had a seminal influence on Mira’s maturity as an actress. She was known for her rich expression, emotivity, and inspiring temperament as well as for possessing universal aptitude toward acting, which allowed her to equally master both dramatic and comedic roles, and to successfully breaks barriers between genres. Many of her performances are considered to be anthology roles in Serbian theatre.
Apart from Petrunjela, others include: Živka (The Cabinet minister’s wife by Branislav Nušić), Joan of Arc (Saint Joan by George Bernard Shaw), Colombe (by Jean Anouilh), Grusha Vashnadze (The Caucasian Chalk Circle by Bertold Brecht), Lucietta (Le baruffe chiozzotte by Carlo Goldoni, Commissar (An Optimistic Tragedy by Vsevolod Vishnevsky), Glorija (by Ranko Marinković), Mirandolina (The Mistress of the Inn by Carlo Goldoni), Melita (Leda by Miroslav Krleža), Signora Ignazia (Tonight We Improvise by Luigi Pirandello), Mary (Mary fights with the angels by Pavel Kohout), Chérubin (The Marriage of Figaro by Beaumarchais), Ljubica (Đido by Janko Veselinović), Grushenka (The Brothers Karamazov by Fyodor Dostoyevsky), Alexandra Negina (Talents and Admirers by Aleksandr Ostrovsky), Danica (Ljubav by Milan Đoković), Madame Sans-Gêne (by Victorien Sardou), Actress (L'Otage by Paul Claudel), Baroness Castelli-Glembay (Messrs. Glembay by Miroslav Krleža), Nastasya Filipovna (The Idiot by Fyodor Dostoyevsky, Jenny Diver (The Threepenny Opera by Bertrold Brecht), Anna Karenina by Leo Tolstoy, and Lady Milford (Intrigue and Love by Friedrich Schiller). Her final role was Princess Ksenija of Montenegro in the drama of the same name by Radmila Vojvodić in 1994.
Mira Stupica