How did Michel Fokine challenge symmetrical groupings in ballet choreography?

Michel Fokine challenged the traditional, symmetrical groupings of classical ballet by advocating for artistic unity and expressiveness that extended from the individual soloist to the entire ensemble.1

Rather than treating the corps de ballet as mere decorative background or ornamental filler, Fokine sought to transform their role into a powerful dramatic force. He believed that movement should be dictated by the subject, period, and character of the music, and that this expressiveness must be consistent across the whole group.21

In his choreography, such as in Prince Igor and The Firebird, he demonstrated a talent for organizing large crowds of dancers to serve the narrative, moving away from the rigid, symmetrical patterns common in earlier ballet traditions. By emphasizing a fluid, plastic quality in the grouping of dancers, he helped shift the focus toward a more lyrical and dramatic integration of the ensemble, ensuring that the group functioned as an essential component of the ballet's overall artistic vision.21