A poetic translation of the violence and barbarity of our times, Breu, a ballet created in 2007, is a devastating score of movements written by Rodrigo Pederneiras. To express in movement the dense and poignant soundtrack created by Lenine, the choreographer and dancers set out to formulate new movement codes, full of angularity and harshness.

The abruptness of the falls and the painful slowness of the ascents seem to pull the dancers towards the ground, moving with the aid of their pelvis, wrists, elbows, knees, ankles, and heels. To remain standing or to stay on top, it is necessary to ignore the other and see them as an enemy. Individualism, triumph at any cost, and a willingness to confront as a survival strategy seem to govern the forty-minute performance.

Lenine's original music combines a vast range of timbres, samples, effects, quotations, and styles, constructing an intriguing sonic babel. The piece has eight movements that range from hard rock to popular and traditional Brazilian genres. Paulo Pederneiras frames the stage space with large, shiny black panels, precisely arranged side by side, reminiscent of the coldness of tiled surfaces. Made of one-piece mesh fabrics and entirely in black and white, the costumes created by Freusa Zechmeister divide the dancers' bodies in half: the front is dominated by varied geometric prints; the back is covered in an intense black from top to bottom. Under the light, the shine of the mesh fabrics highlights the shapes, causing the dancers to blend into the scenery here and there, lending volume and sinuosity to the rectilinear and two-dimensional aesthetic.