I never imagined I would taste someone so cruel and, at the same time, so... sweet.
I never imagined that I would experience a passion so intense and at the same time so... wrong.
But here I am, tasting once again the most beautiful and delicious lips on the planet, which belong to the most incredible person in the universe.
Here I am, tasting a highly paid and wonderful assassin, whom I am completely in love with and who has to kill me.
Here I am, aware of this and not caring as much as I should, considering he killed my family.

As a producer and SEO copywriter, I wrote the base project that took the "Panorama" project from the mind of its idealizers to the paper, awarding the group a city hall notice that allowed us to produce 5 short films that showed the beauty of the city through the talent of some of its residents.
With my management, the videos had thousands of views and earned the town's attention.

Bacarte is a theatre group that has decided to take its work to another level. I was responsible for the new branding, taking care of the Instagram page, and working to put the group on the market

A brief story between me and art

This text was a monologue written to be performed by the Art Group "Bacarte" in its play "Relatos" in 2017.

Synopsis: Even though he is the only boy among the seven women who live in the house at 512 Pen State Street, Jess has an average life - or as average as a boy from a family of clairvoyants can have. Like everyone in the Duncan family, he has learned to view disturbances in his sixth sense as something ordinary and insignificant, as he plans to go to college and leave the quiet town of Gray Valley behind, where nothing ever happens. Or that's what he thought until Leslie showed up...

Leslie is on the run. Of the dead people she started seeing all of a sudden, of the strange things she felt, of her disturbing past, of herself. All she knows is that she has to get away as quickly as possible, even if this means walking for miles at a stretch. Until she is drawn to Gray Valley, a small town that should have been just another one along the way, and meets not just one boy but an entire family of people who say they are just like her - who see, feel, and hear things that no one else can.

But tragic events begin to occur upon her arrival. Stores are robbed, property destroyed, and people are attacked and even killed in what the sheriff believes to be a gang carrying out satanic rituals. Angry, the citizens of Gray Valley blame the strange Duncan family and their new guest, who manages to be even more disturbing.

Jess is convinced of her family's and Leslie's innocence, even though the girl appears to be something much bigger and scarier than a mere clairvoyant.

But is it just a coincidence that the attacks started on the same night as Leslie's arrival?

Synopsis: What does it mean to be strong? Is it waking up in a hotel room without knowing who you are or how you got there, with a single message telling you to survive, yet moving forward with your head held high in search of answers? Being hunted around the world by strange beings - with wings, sharp teeth, swords, and an insane desire for your death - and dueling each of them until someone wins? Discovering that angels and demons are real and that they have a mission to eliminate you from the earth and still not stop fighting for your goals? Or ignore the rumor that says you're going to destroy the world?
Pandora doesn't know what it means to be strong but knows she needs to be. She knows she needs to raise her weapon and fight, look for fake names that lead to empty house addresses and unresponsive faces to find out about her past. She knows she must dig and dig to find concrete words to understand why so many people want her dead and why she is so different.
With her royal blue hair and strangely shaped sword, Pandora will form alliances with innocent humans, rebellious angels, and dangerous demons to discover truths about herself.
To find out why she heals so quickly from mortal wounds and why, every time she enters a battle, she is defeated and dies...
She wakes up to fight again.

Brazilian youth are permeated by various stigmas that treat them as problematic to make them invisible and criminalize them. On the other hand, theater can be configured as an educational practice endowed with emancipatory potential, acting against the hegemony of reality posed by the capitalist system. In this way, when considering the challenges faced by social workers in their daily professional lives in the search to implement their ethical-political project, theater can become an action strategy through the socio-educational dimension, which deals with the present educational character in the profession.
Keywords: Youth. Theater. Culture. Brazilian Social Service. Socio-educational dimension of social work.

This article originated in the discipline "Professional Work and Social Work" at UNESP Franca and addresses the contradictions inherent to Social Work, a profession closely linked to the capitalist system. Like many countries, Brazil is permeated by this social structure that exploits one part of the population for the benefit of another. The role assigned to Social Work by the State of Law is to reconcile classes and mitigate the expressions of social issues, a result of the inequalities generated by the current system.
Over the decades, professionals have faced obstacles to consolidating the profession, questioning its proper function and who it benefits. Despite being part of the working class, employers often compel social workers to act contrary to their interests. A mobilization emerges for a professional project prioritizes an ethical and political commitment to social causes that combat exploitation.
This article seeks to reflect on these contradictions, recognizing that the capitalist system and its dynamics oppose the commitment assumed by the predominant ethical-political project in the category. Using historical-dialectical materialism as a method, we seek to understand that the current structure of society is the result of a historical process of constant transformation.

In this article, we use as a basis the cultural perspective brought in the book "Cultura e Democracia," by Marilena Chauí (2009), which outlines culture as the terrain where individuals forge symbols, establish values ​​, and shape perceptions rooted in their worldviews. In the Brazilian context, permeated by capitalism, the hegemonic culture of the bourgeoisie demands itself, manipulating the media to legitimize its vision and marginalize the culture of the popular classes as "uncultured." Social workers face challenges in this scenario, as they are represented in the media punitively, opposing their ethical-political project. Two 2019 films, "The Joker" and "Marriage Story," explore this representation. Although they do not lead, social workers play essential roles, reflecting the complexity of their functions. Although fictional, these representations echo social workers' fundamental challenges, contributing to the understanding of the impact of bourgeois culture on the profession. Anchored in historical-dialectical materialism, this article seeks to understand how social forces shape and are shaped by dominant culture. We recognize their intentionality as a reflection of bourgeois cultural hegemony and their influence on public perception of the work of social workers. Through this analysis, we aim to contextualize the profession's contemporary challenges, highlighting the need for a deep understanding of social dynamics to promote practical transformations.

The article addresses the issue of social inequalities in Brazil,
relating them to prejudiced manifestations and obstacles they
generate in social assistance. Given this, it elucidates the
role of social workers, facing permanent and also new
demands, having in the socio-educational dimension a strategy
for a possible overcoming of preconceived values.
Keywords: social assistance; social inequalities; socioeducational dimension e preconception.

This article discusses the political antagonisms in Brazilian cultural and educational perspectives, reflecting them as possible causes for the lack of access and quality in public policies. For this, we approach the dynamic relationship between these categories in the Brazilian context, subordinated to the dominant perspective that uses them as a form of control over workers. This fact generates a lack of responsibility in the government, which builds public policies aimed only at the elites, offering public education restricted to technical training without caring about its quality, not focusing on cultural policies, naturalizing social inequalities, and removing the Brazilian population access to their fundamental rights as citizens.

This article discusses the theatre as an instrument that contributes to human emancipation, as it allows the subjects who practice it to analyze their reality through a different perspective from the one proposed by the current order. Glimpsing the impact of human rights violations on the lives of young people in contemporary Brazil, especially those who are marginalized and have their identity made invisible by society, we analyze theatre as a possibility for recognizing their totality. In this way, the article's objective is to treat the manifestation of the artistic expression of the theatre as a way for the youths to recognize themselves in the realities put on stage, in the sense of affirmation of their rights.

This text reflects on the contemporary dilemmas that pervade Brazilian Social Work in professional qualification and professional work. In this way, we raise a debate about the existing dichotomy between what is required of Social Workers in their occupational spaces and what his hegemonic Ethical-Political Project advocates, which supports the intransigent defense of human rights. Seeking to consider alternatives to overcome conservatism, we approach the instrumentality of the profession, dealing with the professional's need to appropriate its dimensions, mainly the Educational Dimension, which deals with the pedagogical character of the performance, as a way of promoting a social mobilization that covers the responsibility of State. We used bibliographical research to carry out this debate, with texts and articles written by authors who work on the proposed theme. In addition, we are also anchored in historical-dialectical materialism, understanding that our society is constantly changing, and we need to study it as a whole to understand its dynamics.