How did Bronislava Nijinska use large groups of dancers in Les Noces?

In her 1923 ballet Les Noces (The Wedding), Bronislava Nijinska utilized large groups of dancers to emphasize architectural and sculptural qualities rather than individual performance.1

By arranging the dancers in massed formations, she created an overall impression that focused on large shapes and blocks of movement. This approach complemented the ballet's stark, heavily weighted style, which featured dancers frequently crouched or bent over with their heads hanging low to the floor. Through this technique, Nijinska moved away from traditional ornamental groupings, instead using the ensemble to convey the ritualistic and grounded nature of the Russian peasant marriage ceremonies that served as the work's theme.1