The plot of Corona de sombra by Rodolfo Usigli exhibits a circular trajectory: it begins and ends in an “invented” present for the visit of the historian Erasmo Ramirez to the former empress of Mexico Carlota Amalia a few hours before her death (Brussels, January 19, 1927). The complexity of the text is central: theater within the theater. Carlota and Maximiliano perform for “Juarez” (Ramirez) and the spectators. The interaction of Erasmo and Carlota, on the other hand, represents and builds another “story” for the benefit of the historian himself and the viewers/readers of the future. There are also problems of identity revealed throughout the text. In symbolic terms, Ramirez, with his historian mask, represents a mestizo, modern and young Mexico in search of a recent past (re)created in Europe by an old European woman of royal ancestry. The opposition of these racial symbols, spaces and times juxtaposed shows a conflictive history in constant reinterpretation and transformation.

中文翻译：

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Corona de sombra: historia, identidad y transformación en unteatro de máscaras

Rodolfo Usigli 的 Corona de sombra 情节展示了一个圆形轨迹：它以历史学家埃拉斯莫·拉米雷斯 (Erasmo Ramirez) 在墨西哥前女皇卡洛塔·阿玛利亚 (Carlota Amalia) 去世前几个小时（布鲁塞尔，1 月19, 1927)。文本的复杂性是核心：剧院中的剧院。卡洛塔和马克西米利亚诺为“华雷斯”（拉米雷斯）和观众表演。另一方面，埃拉斯莫和卡洛塔的互动代表并构建了另一个“故事”，以造福历史学家本人和未来的观众/读者。整篇文章也揭示了身份问题。从象征意义上说，拉米雷斯带着他的历史学家面具，代表了一个混血儿，现代和年轻的墨西哥，寻找由一位拥有皇室血统的欧洲老妇人在欧洲（重新）创造的最近的过去。