Kennedy Mccann w12 All About My Mother

The correlation between All About Eve and All About My Mother discussed in Acevedo-Muniz’s article seems to me the most appropriate to discuss since the former film was the debut film of the class. The juxtaposition of authenticity vs performance as well as personal space vs theatrical space is interesting in both films. In Eve, Eve’s first encounter with Margo and her show biz friends is in Margo’s dressing room, where Eve slyly performs herself as an optimistic victim of an inauthentic reality. This performance, misunderstood as reality, is further performed by Eve to Margo as the latter has breakfast in bed, the most personal space there is. This bleeding of theatrical inauthenticity into the personal realm is repreatedly explicitly addressed in the film, though this scene is unique because it implicitly addresses the theme. In Mother, Acevedo-Munoz talks about the two scenes of Manuela performing the role of a driving mother in juxtaposition to her actual adaptation of the role, specifically pointing to her “reacted as scripted” vs her “unmediated reaction,” (28). In Eve, Margo violates the mise en scene of the theater when she interrupts Eve’s understudy audition by revealing her unscripted feelings on the stage. This can be compared to Argado’s “authentic” performance of her life on the stage, unscripted and unmediated. Margo’s attempt to unmask Eve’s duplicity, to reveal the truth, on the stage fails since she is attempting to fuse reality in the unreality of the theater. This is contrasted with Argado’s applauded authenticity on the stage as well Astor positive reception of Manuela’s channeling of her true feelings in her performance as Stella on stage.

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