117:(1969) focuses on a middle-aged woman with a very boring, standard lifestyle. 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.
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more of the characters eventually break free, but not in the traditional way one would think. They break free in regards to their imaginations/fantasies. 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.
129:(1973) 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. These role changes result in many opportunities and freedoms for the characters, but also the realizations of the limitations of each role.
123:(1973) describes the dilemma of a young man who is pressured by his family to marry and join the family business. He rebels by fleeing to study at the University of São Paulo and then by continuing to fantasize there about what he wants his life to be like. This behavior does not help the conflict with his parents, resulting in attempted suicide.
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focus majorly on the stereotypes of the middle class and emphasize that conformity to these stereotypes is required. 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
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when it was staged in 1969. 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 1960s and several of her early plays were banned by censors.
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in 1964 with a degree in
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in 1964. From there, she transitioned into writing stories for magazines and soap operas, eventually leading into her work as a playwright.
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Tentative transgressions: homosexuality, AIDS, and the theater in Brazil by
Severino João Medeiros Albuquerque, pg 32
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Milleret, Margo (1984). "Entrapment and
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Flash and Crash Days: Brazilian
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Assunção has been classed as among the two major women playwrights of
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