With an intense production, Renata transited through the Arts and Literature with mastery and creativity, having her work marked by a certain performativity, a trait that comes from her relationship with theater.

[4] Back to Brazil, between 1961 and 1962, she studied Dramaturgy and criticism at the School of Dramatic Art (EAD) at the University of São Paulo (USP), having among her teachers Anatol Rosenfeld, Décio de Almeida Prado, Augusto Boal and Alfredo Mesquita.

[5] She finished her doctorate in 1982 at the School of Communications and Arts (ECA) at the University of São Paulo (USP), under the guidance of Sábato Magaldi.

[6] Invited by Sábato Magaldi to replace him in 1964, Renata Pallotini started to work as a teacher at School of Dramatic Art (EAD), teaching the History of the Brazilian Theatre.

[10] She was an award-winning author who wrote poetry, essays, fiction, theater theory, children's literature, and television programs, as well as several translations.

She wrote for the theater since the early 1960s, being A Lâmpada (1961), Sarapalha (1962) and O Crime da Cabra (1965) her first works, having developed intense theatrical activity throughout the 1970s and 1980s.

She is among the playwrights who project themselves around 1969, being part of the group that formed the new generation of women theater writers along with Hilda Hilst, Leilah Assumpção, Consuelo de Castro, Isabel Câmara.

[26] Elza Cunha de Vicenzo, in her book Um Teatro da Mulher (1992), affirms that after 1969, in Brazil, women playwrights began to reveal themselves in significant numbers, making up a larger group of first time playwrights that came to be known as the group of the new dramaturgy, which can be characterized by presenting a type of text and textual proposal diverse - in various aspects - from what had been done in the theater in São Paulo.

In 1964, the project O Crime da Cabra, by the National Theater Service, directed by Ademar Guerra, touring all over the country, was undone by impositions resulting from the military coup.

[29] The play Enquanto se Vai Morrer, a genre of epic drama with the theme of the death penalty and torture, written in 1972, was vetoed by the military regime for "violating current legislation.

[32]As a lesbian woman who lived through the military dictatorship, she didn't want to hide, she wrote between the lines what she felt, and in this way she could express her sexual identity without being disturbed by conservatism.

The Itaú Cultural Encyclopedia says that:Renata Pallottini has her production in the theater, in television, as a writer, as a teacher, and in the administrative and political areas.

[36][97] In 2016, she was awarded the Guilherme de Almeida Necklace, granted by the São Paulo City Council to people who collaborate with culture.