Although she is known as a playwright, she began her career working as an actress and a model, performing in Vereda de Salvacao by Jorge de Enrade in and The Three-penny opera by Bertolt Brecht in From there, she transitioned into writing stories for magazines and soap operas, eventually leading into her work as a playwright.
She aimed to shock the audience by her choice of topic: depicting a middle-aged woman meeting an intruder. She was one of the leaders of New Theatre in the s and several of her early plays were banned by censors. She openly depicts the majority of her characters as stuck in their current lifestyles, unable to break away from the status quo. One commodity of her first three works is that one or more of the characters eventually break free, but not in the traditional way one would think.
For a short time period, they are able to fantasize and imagine themselves living in a world outside of the social norms. Overall, she wrights these plays to target the repressions society's moral standards place on people and the dissatisfaction of life that is likely to come with these repressions.
One night, an intruder breaks into her house with a gun and proceeds to insult her and destroy her apartment. He forces the woman to come with him on a fantasy adventure in which the woman breaks away from her dull life and creates an ideal one. She enjoys the experience up until she remembers she has responsibilities to attend to at a local department store.
This results in her screaming for help, unable to ignore the obligations of her daily life. This behavior does not help the conflict with his parents, resulting in attempted suicide. Roda cor de Roda entails the story of a housewife rebelling against her husband after she has found out he has been cheating. The results in the fantasies of role reversals, where all three of them take turns being the breadwinner, the prostitute, and the homemaker.
