By JOHN GOMES

IN THE SECOND half of the last century great stalwarts like Aleixinho de Candolim, Minguel Rod, C. Alvares, Kid Boxer, Anthony D’Sa not only salvaged the tiatr from disintegrating but propelled it to great heights. This period was considered the golden era of Konkani Tiatr. Saib Rocha, A.R. Souza Ferrao, J.P.Souzalin served as a link between the old and the new. The tiatr’s mogul, late Jacinto Vaz, who began his career as a serious artiste, was always witty and humorous and was never found morose even in moments of despair. On one occasion, when Souzalin’s ‘Sat Dukhi’ was shown in Goa, Mary Vaz ( Maria Magdalena), Shalini (Blessed Virgin Mary) and Jacinto (as a Roman soldier) were enacting the passion scene in the crucifixion of Christ. Mary and Shalini were required to mourn Jesus’ death with tears in their eyes. Jacinto whispered in their ears: ‘Kiteak roddtat gho? Souzalinachea moddeak?’ (Why are you’ll crying? For Souzalin’s death?)

HUMOUR ON STAGE
When there were no Sulab Sauchalayas along the banks of Mandovi river, on the Panjim side, the Government came out with an order threatening anyone who ‘irrigated’ the river side with harsh punishment. In a tiatr soon after, the super comedian was seen carrying a bottle explaining to the audience that it did not contain feni, but was being carried as there were no urinals along the river front and he did not want to attract the wrath of the authorities. Call it crude or populist, but the fact remains that the message was communicated most effectively in the medium that the masses could understand. Whatever struck Jacinto as basically wrong was immediately transcribed into a song with devastating humour and wry comments. Here are some instances:- (1) In 1980, he rendered a song ‘AKASHWANI’. He came on the stage with his face tucked in an empty radio and he imitated songs AIR broadcasted. (2) When he was in a Government hospital after a road accident, he was shocked to see the nurses flinging the tablets on patients’ beds. Though he was treated well, he could not stomach the impertinence. The end result: a critical song wherever the tiatr troupe took him. Doctors and hospital staff were upset but he was not worried. In his songs, he lambasted anyone and everything he found wrong.

POWERFUL MEDUIM: The Konkani tiatr is the most effective medium to get to the locals.

BEST TIATRS
Some of the best tiatrs of the last two and half decades are: Hem Asa Tem (J P Souzalin), Ekuch Rosto (M.Boyer), Ghorabo (Nelson Alphonso), Divorce (Aristides Dias), Ghorachem Sukh (Remmie Colaco), Vavraddi (Preme Kumar), Purtugez Kolvont (John Claro), Grant Road (Mike Mehtra) & Sezari Kombo (C. Alvares). The year 1975 marked the closing of many a well-played innings or the beginning or fading out of some of the old stalwarts of the Konkani Tiatr like Anthony D’Sa, Anthony Mendes, C. Alvares, Alfred Rose, A. R. Souza Ferrao, J P Souzalin, Saib Rocha, Joao Agostinho Fernandes, AMB Rose, Valente Mascarenhas, Champion Alvares, Tony Fernandes (still alive), Miss Carlota and many more whose selfless service to the Konkani Tiatr Stage had laid a strong foundation for the future generation to build on.

Kala Academy of Goa took the lead to celebrate the centenary of Tiatr on April 17, 1992 – followed by a valedictory function in April 1993 when the works of the following stalwarts of the Konkani stage were recognised and they were felicitated;- C. Alvares, Jacinto Vaz, M. Boyer, John Claro, Remmie Colaco, Shalini , Prem Kumar, Antonette Mendes, Alfred Rose, Fidelis Fernandes, Alex Fernandes, Ophelia and Philomena Braz.

POWERFUL MEDIUM
A tiatr is not only drama, or only music or only comedy; it is a fine mixture of all the above ingredients - drama, music, comedy and improvisation. Again the music consists of songs on different topics, be it serious or comic. Tunes set to blended music provided by a brass band is a noteworthy element of this popular art form. The Konkani tiatr has today evolved as a powerful medium for mass communication.

Sometime back I had been on a tour of Dubai and Nairobi. I was virtually mesmerised by the huge public response the regional productions evoked. I saw the public there thronging theatres to see stage shows of classical as well as modern drama. The theatre companies there have succeeded in retaining their audience – thanks to all the innovations in stage craft and technical wizadry. I wish the tiatrists here could just witness the technological revolution taking place on those stages. Our Tiatr has a long history. This art form has found its roots among the Goan audience. It is the only professional theatre we have in Goa. However, I sincerely wish it becomes a powerful weapon for social awakening!

Back