Abstract

Is an accurate representation of self possible in biographical theatre? Lola Montez (1821-1861) was a historical figure known for being the worst actress and dancer of her generation. However, Montez stated, after her rise to political infamy in Bavaria, that "she no longer recognize[d] herself as Lola Montez." In an act of reinvention, after being chased out of Bavaria, she expressed the desire to create "Lolaland" an independent state with her as leader--an outrageous goal which she never achieved. "Lolaland" transposes Plato's "Theory of Forms" utilizing the idea that there are two distinct levels of reality: the world of sights and sounds which we inhabit and the intelligible world of forms that stands above the visible world and gives it being. This, in turn, reflects a modern preoccupation with fame and celebrity. Celebrity reflects a type of mythology that encourages people to aspire to a different class through a constant performance or mimicry of what they believe makes someone celebrated. The coterie of Montez followers that populate this play fight for their place, and vie to ascend their position in the Republic, in order to become celebrated including the author who places herself as an imagined self in the imagined myth of Lola Montez. "Keen and unremitting in his love, he will go on till he touches the nature of each thing which is by itself with that part of his soul which is suited to grasp it. But it is suited to what it is akin. Drawing near it and having intercourse with what is really real, begetting thought and truth, he knows and truly lives and is nourished, and thus, but not before, ceases from his travail." -- Plato, "The Republic" "Tyranny is not a matter of minor theft and violence, but of wholesale plunder, sacred and profane, private or public." -- Plato, "The Republic"