BEGINNINGS OF TIATR

Though the Konkani stage is inundated by tiatrs and non-stop dramas, not many tiatr lovers know that this form originated not in Goa but in Mumbai more than a century ago. JOHN GOMES (KoKoY) traces the history of this popular entertainment medium.

THAT NIGHT OF Easter Sunday was unique! Over one hundred and forty years ago, on April 17, 1862, at New Alfred Theatre (presently housing Mumbai’s Police Comm-issioner’s Office), the first ever Konkani Tiatr “ITALIAN BHURGO” written and directed by Lucasinho Ribeiro was staged.

The show was successful in every department with all the required ingredients: Good story, great songs, hunting and melodious music; and last but not the least, velvety shining vestments sported by the early birds – viz. Joao Agostinho Fernan-des from Borda-Margao, Francisquinho Fernandes (native place unknown) and 29-year old Lucasinho Caridade Ribeiro from Limavaddo, Socorro-Bardez. Each of the maiden performer was a connoisseur of every tiatr buff’s eye on that glittering Easter night. The Zagor had almost finished its act. The live band had stuck a tune. The tiatr was based on the Italian Opera Company’s opera by the Gonzalez Brothers.

Strangely, this unparalleled and unique art form originated in Mumbai and not in Goa. No one knows why Mumbai, the Marathi capital became the capital and originator of Tiatr. But there was something about this metropolis that attracted the attention of the world at large. The Konkani language itself is indebted to Mumbai – the bastion of our mother tongue. It was a place that promoted the Konkani revolution, birth of many Konkani newspapers, novels and periodicals , including the foundation stone of the Konkani Bhasha Mandal that was laid over there. In Mumbai, countless Goans shone at multiple levels with auras that transcended Goan heraldry. Shenoy Goembab although born in Goa, spent most of his life in Mumbai.

To throw light on the birth of tiatr, an article by late Joao Agostinho Fernandes, “the father of tiatr’ translated into English from Konkani is quoted here. This original middle was published in erstwhile Mumbai’s Roman Konkani weekly, AVE MARIA in its issue of 28.11.1943 on the occasion of golden jubilee of Tiatr:

“When I am advancing to celebrate golden jubilee of Konkani tiatr, I think it necessary to describe in the form of a tale to present tiatrists and all other Goans as to who were the first Goans to come forward to write a tiatr and who deserves the honourable place in this field.

It seems no one is aware of this happening and I am glad to announce in a few lines to one and all before I pass away. Perhaps elders of my age group may be aware that prior to Konkani tiatr, zagors were staged in Mumbai and because of these zagors, Goans were a laughing stock before other communities. A few Goans used to present dramas in English and Portuguese. These plays were enacted by members of Instituto Luso Indiano once or twice a year at Gaiety Theatre (present Capital cinema) and Cawasji Hall, Dhobitalo-Mumbai. Around the year 1890, this was the sole entertainment available to Goans.

Almost at the time when Italian Opera Company was staging their operas in Mumbai, late Lucasinho Ribeiro from Assagao-Goa happened to land in the metropolis. He was impressed by their operas and thought of getting with the company a job of taking care of their scene/scenarios – as he was neither a skilled or trained worker.

He sent word through a fellow Goan who could help him with a very meagre salary. Along with that company, he toured Pune, Madras, Shimla and Kolkatta. Before proceeding to Burma, he resigned and returned to Mumbai keeping in mind a small opera of theirs. While in Mumbai, he developed friendship with Caetaninho Fernandes from Taleigao and together they struggled to discover new talent. This was an uphill task as the would- be actors were under the impression that this supposed-to-be-tiatr could be another Zagor only. This was a hindrance on his way and the idea of staging a tiatr was shelved.

One day, Caetaninho, who was an employee of Bombay Gazette, unexpectedly met me and broached the topic of tiatr. One Sunday, I accompanied him to meet Mr. Ribeiro at Picket Road. Once acquainted, I got into the habit of religiously visiting Mr. Ribeiro every evening after off hours and all three of us (Lucasinho, Caetaninho and myself) used to exchange pleasantries of mutual interest to us. One fine day, we thought of an idea to approach Goan clubs in search of new faces for the tiatr. With some efforts, we could convince only two of the boys; one of whom, Agostinho Mascarenhas is still living in Goa. We were in need of nine characters to stage the opera; so each one of us had to enact two-three roles and the rehearsals got to a start every evening – so that a tiatr could be staged. When Ribeiro was satisfied with the preparations, he laid the foundation of Konkani tiatr in February 1892 with five participants near Round Building, Picket Road, Mumbai. In the month of April of the same year, Ribeiro’s first Konkani opera, ‘ITALIAN BHURGO’ was staged at New Alfred Theatre, situated where Police Commissioner’s Head Office is housed presently.

With this strong foundation, Lucasinho thereafter staged ‘ALLADIN’, ALLIBABA’ and ‘CARLOS MAGNO’ – all under the banner of Goa Portuguese Dramatic Company. Misunderstanding and envy stepped in and under wrong advice, Ribeiro deserted us and formed another group entitled Ribeiro & D’Cruz opera Co. In between , a number of clubs mushroomed but were disbanded one after the other. Prominent amongst them were : Lusitani , Dona Amelia, Dom Carlos, Douglas Comic Opera, Karachiwala’s Delectable Company, Goan Union , Lazarus Comic Opera and Goa Nacional . Mr. Rocha’s Union Jack is the only club which has survived till date.

Over the last fifty years, I have written twenty-seven dramas on comedy. Out of these, sixteen have been staged thus far and eleven are yet to see the lights of the stage. Amongst these twenty-seven, four dramas have been translated, whereas twenty-three are my own creations.

Without the shadow of a doubt and hesitation, the first place of honour goes to late Lucasinho Ribeiro. I bow down with reverence on Mr. Ribeiro’s grave, who happened to be my guru (teacher) in this theatrical trade. I act in conformity with his ways and guidelines and present modest and educative tiatrs to my fellow Konkanites till date”.

TIATR FORM

A Tiatr has six or seven parts or scenes called pordhe. The duration of each pordho is around 15-20 minutes. When the main play is on, it can have songs called cantos, which are elated to the theme and are rendered by the characters in the tiatr. In between these pordhes, two or three songs (solos/duets/trios, etc. known as kantaram) are depicted. Before the first act, the main curtain lifts upto the presentation of hymn/opening chorus followed by two songs (kantaram).

The style of presentation of a solo (kantar) is by a single singer/songstress dwelling on a subject of love, current political event of happiness, comedy or tragedy. Ideas and moral chastisements are best delivered to the audience in this tasty style of communication all in poetrical language of tiatrists’ set to music. The other style is of duets/trios, one of the parties opposing the others’ point or all parties driving a point in unison, or at intervals, even musical setting being one as lead singer and the others as second. Traditionally, these kantaram are part and parcel of tiatr to prevent boredom in between the scene or acts of the story to give time for dressing up of actors /actresses back stage, ground setting etc. These kantaram may be sung by any artiste not necessarily by the characters in the tiatr.

This tradition has now become absolutely a part and parcel of Konkani Tiatr itself a much sought for entertainment; because a tiatr deals with one subject while kantaram will deal with as many subjects as there are side-show songs.   (Goan Observer)