ABSTRACT
Each of Sergei Prokofiev's ballets for Diaghilev mirrors not only the specifics of its commission but the changing aesthetics of the company as it sought to oblige the prevailing temperament of its Parisian and London audiences. Le Pas d'acier marks the height of Parisian influence on Prokofiev's style. Prokofiev acknowledged a change in style beginning with the ballet, placing more emphasis on diatonicism and lyricism, and utilizing a contemporary, as opposed to a fantastical, Russian musical idiom. Along with brief sections in the new, simpler style, Prokofiev still gave his audience what they expected in Le Pas d'acier in response to the futurist subject and constructivist decor. The more modern aspects of Prokofiev's musical style already resonated with the music of the latter group, and the requirements of Le Pas d'acier would reinforce the connection. It is important that Le Pas d'acier was conceived from Yakulov's visual image alone, no scenarist or choreographer collaborated.
