The Firebird and Petrushka

In her new interpretations of *The Firebird* and *Petrushka*, Croatian choreographer Maša Kolar offers a contemporary perspective on the legacy of Mikhail Fokin, the founder of modern ballet, his contemporary Igor Stravinsky, and the tradition of the Parisian “Ballets Russes” at the beginning of the 20th century.

In her artistic interpretation of Igor Stravinsky’s “L’Oiseau de feu” suite (The Firebird) from 1919, Maša Kolar stages the events of that night when Prince Ivan encounters the Firebird in the magical garden of golden apples. The fable opens up space for the depiction of animal creatures and movement patterns in human form, which are also found in the additionally introduced bird figures. In contrast to the original ballet, Kolar shifts the focus to the Firebird itself. She portrays it as a divine being that can bring both happiness and misfortune and embodies a protective as well as a destructive force.

The fairy tale Petrushka tells of a love triangle between three puppets that quickly escalates into a drama of jealousy. In her choreographic interpretation, Maša Kolar explores the complex relationships between the individual and society, as well as the dynamics of the triangular relationship that drives the plot. The three puppets metaphorically represent people trapped in roles assigned to them from the outside. This interpretation of Petrushka is thus understood not only as the characters’ personal tragedy, but also as a mirror of social norms that are upheld even when they lead to violence, loss, and a tragic outcome.

Both short pieces are among the most popular and frequently performed ballets of all time—often presented as a double bill. Maša Kolar served as ballet director at the Croatian National Theater in Rijeka from 2017 to 2024 and is in high demand internationally as a freelance choreographer. Starting with the 2026–2027 season, she will become ballet director at Theater Nordhausen.