The controversial play Orquídeas a la luz de la luna (1982) by Carlos Fuentes revolves around two women named María Félix and Dolores del Río. These characters adopt as their own the stories and urban legends surrounding the two icons of Mexican cinema for whom they are named. María and Dolores are convinced of these “masks,” of this semblance, which sows doubt in the public that recognizes them. Fuentes casts the public as an audience within the fiction by transforming the proscenium into an imaginary movie screen that serves as an interpretive lens of artifice. This article studies the space that is generated between the real and the seeming to show how distancing becomes a concrete element within the play and thereby facilitates the audience’s understanding of the fictional and aesthetic constructs that maintain the public masks of these two cinematographic legends.

中文翻译：

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“¿Quévamos a hacer con esas impostoras？”：Orquídeasla luz de la luna o elfenómenodel cine atravésde lamáscara

卡洛斯·富恩特斯（Carlos Fuentes）的有争议的剧作《月球女神》（Orquídeasa la luz de la luna，1982年）围绕着两个名叫玛丽亚·费利克斯（MaríaFélix）和多洛雷斯·德尔里奥（Dolores delRío）的女人。这些角色将围绕墨西哥电影的两个图标命名的故事和城市传奇作为他们自己的故事。玛丽亚（María）和多洛雷斯（Dolores）相信这些外表，就像在外表上散布的一样，在公众中激起了人们对它们的认可。富恩特斯通过将舞台变成一个假想的电影屏幕，作为虚构的解释镜头，从而将公众作为小说中的观众。