Bruni began work on The Bolt soon afterwards, making it another of her earliest major commissions. Her stage designs for The Bolt show the influence of constructivist theatre and Soviet poster design on her aesthetics. The backdrop for the factory in Act I, for instance, consisted of contrasting black and white geometric shapes, almost abstract but with the suggestion of factory windows and a crane. In Act III the stage was dominated by a giant diagram of the Soviet Union’s technological achievements, with the emblematic Volkhovstroi dam represented in bright primary colours, aiming to bring industrialisation and electrification to the stage. Bruni’s costumes also reflected the influence of Constructivism and poster design in particular. She used geometric shapes and bold blocks of colour to outline the details of the costume and suggest the movement of the dancers. Her costumes for The Bolt also showcase the artist’s sense of humour and sharp eye for satire, from the ridiculous Bureaucrat in paper trousers to the grotesque drunkards and counter-revolutionaries. These larger-than-life costumes make an important contribution to the ballet’s satirical, unruly view of the Soviet reality.