Based on eight themes arising from the unprecedented partnership between the American instrumentalist and composer Philip Glass and the Minas Gerais instrumental group Uakti, choreographer Rodrigo Pederneiras, for the first time, breaks away from the formal rigor that marks his creations to construct a stripped-down work, where the score of movements emerges as a series of sketches, notes, or studies for a choreography. Unfinished in appearance, but irreproachable due to the genius of the form. Like in a contemporary painting, where corrections can be incorporated into the final result, the movements of the Grupo Corpo dancers follow one another in variations ranging from the "dirty" aesthetic typical of rehearsals to a meticulous formal finish. In this sense, Seven or Eight Pieces for a Ballet, which premiered in 1994, proposes more than it predicts. The obsessive, cold, and precise component of the themes specially created for the ballet by Philip Glass leads Pederneiras to orchestrate repetitions of movements bordering on automatism, mostly performed solo, in contrast to organic group movements, imbued with the sensual Latinity intrinsic to the unique sound produced by Uakti. Fernando Velloso's set design and Freusa Zechmeister's costumes draw inspiration from the early minimalist movement in American painting for the green, blue, and yellow stripes that give the show its visual identity, while white reigns supreme in Paulo Pederneiras' lighting design.