NEW TIATR EVOKES MIXED EMOTIONS

By Daniel F De Souza

EVER SINCE Prince Jacob’s “Rupnnem” was released on 4th June, till the time of writing, 11 shows have been staged in the major centres of Panjim, Margao and Mapusa. By translating the Marathi natak “Sahi re Sahi” ditto in all respects and presenting it on the Konkani stage, Prince Jacob has not only set a new trend on the stage, but, the show has raised a couple of debatable issues among the theatre fraternity. Whether one likes it or not, one can’t deny the fact that ‘Rupnnem’ is the talk of the town for whatever reasons. Several opinions have been freely aired on the rationale behind the translation of the Marathi natak. I spoke to the three top writers/directors of the Konkani stage viz., Rose Ferns, Mario Menezes and John D’Silva, besides Prince Jacob himself with regards to this new trend (of translations) and sought their views.

Identity crisis
ROSE FERNS, the ‘King of Centuries‘, when confronted with the question had this to say: “Translation from other languages is welcomed provided it is done with the sole purpose to show the audience what actually is happening elsewhere on the other stages. “Translation in other words is nothing but an imitation. It is just like an echo, which has no originality. It may be recalled that, from tiatrs we have moved on to the non-stop shows, but, now with this happening it may set a trend to go in for translations. I am afraid this may discourage new and upcoming young writers from using their talent and writing their own plays.  In my opinion translations will not   take us anywhere. Don’t get me wrong, but if this trend continues, somewhere in the distant future our younger generation may think that the ‘tiatr’ has evolved from the ‘natak’.  There is a fear tiatr may lose its unique identity and at some stage later down the line, Marathi writers/directors will themselves take the initiative to go in for Konkani translations. I don’t contribute to the thought that translations in anyway will develop the language, remember, we do have Konkani writers with exceptional calibre.”

“Surely, as far as the Marathi natak goes, I agree that the idea and concept of stage sets and lighting are very much different.  It is to be accepted and I do agree that as far as the light effects are concerned we are far behind. There is no harm in learning a few things from the technical advancements and adapting it to our Konkani stage. But, I definitely don’t agree that we should force other writers to take up translations.  Don’t forget, that the Konkani stage is similar to a ‘bride’ and care should be taken to attire it in the most befitting manner or else it will lose its original beauty and appear to resemble a cheap prostitute.”

Only Translators?
Mario MENEZES, who was earlier a member of Prince Jacob’s troupe and now an established writer/director in his own right stated that “ I feel there is nothing wrong if a writer/director chooses a natak of any language, translates the script, copies the acting, sets and lights. But all those who say that other writers/directors should also do the same are wrong. If this trend of translation continues, I am afraid in future there will be no Konkani writers/directors, but, only translators and imitators. The audience today criticises us when we lift tunes from Hindi films, I don’t think the audience will accept translations. They may tolerate it for one or two dramas.

Translations defeat the originality of a writer/director. Today every writer/director has their own identity among the audience. For example, Rosario Rodrigues was known for his philosophical script, Rose Ferns is known for his direction and Prince Jacob is known for his presentation. I don’t agree that translations and imitations will improve our standard. We surely must watch plays in other languages, and bring about necessary improvements wherever necessary by writing and directing on our own. I agree that there are many nataks of high standard, but, there are also tiatrs presented by Late J.P. Souzalin, C. Alvares, M. Boyer, Mike Mehta, Prem Kumar, Rosario Rodrigues, Rose Ferns, Prince Jacob which are also of higher standard than many of the nataks and plays from other languages. Our only drawback is, they have not been published in book form due to financial constrains.

The tiatr and non-stop shows have made tremendous development for the past 30 years. Nothing can change overnight. Instead of tak-ing short cuts to better standards we should try to concentrate, dedicate and uplift the standard of tiatr by our own efforts.”

Complimented
WRITER/DIRECTOR John D’Silva when asked to give his views on the latest trend on the Konkani stage, stated “ Prince Jacob is to be complimented for the translation and all the hard work and efforts he has put in bringing ‘Rupnnem’ on Konkani stage. By doing so, Prince Jacob has given an opportunity for the Konkani audience to know what exactly a Marathi natak is and where it stands. His portrayal of four different character roles simultaneously also needs to be praised. For, this is something different.

JOHN D'SILVA: Prince Jacob is to be complimrnted.

Now, whether this trend of translations should continue on our stage or not is for the individual writer/directors to decide as per their own wish. But, let me make one thing very clear, mere translations of natak does not promote the Marathi language in any manner. Several South Indian hit films have been translated and re-made in Hindi, for example ‘Dayavan, Nayak, Hamara Dil Apke Pas Hai’ etc’ but they did not promote the Tamil language, on the contrary it was the Hindi language that benefited. Don’t forget several good English pictures are also dubbed in Hindi for the Indian audiences.

As far as my knowledge goes, I know that Prince Jacob is a die-hard Konkaniwadi and whatever he has done now, has been done after giving it serious thought. Konkani stage has its own respectable standard and we are not too far behind ‘Hum kissise kam nahin’ is all I can say. But, we have to work to bring about a change.”

Art Has No Barrier
SPEAKING TO the writer/director Prince Jacob himself soliciting his views on why he opted for a translation of Marathi natak, he stood his ground and defended his action. “You will appreciate that I have always done my best to bring about a change on the Konkani stage. This is also my attempt at a change. Having seen the hunger of the audience for a change, I had to take this bold step. And I did it without hiking the cost of the ticket. If ‘Italian Bhurgo’ could be translated and accepted by the masses on Konkani stage, I don’t understand why this big hue and cry about my new initiative ?? Remember, I am an artist and art has no barrier. I have brought forth a work of art and given the audience variety. I don’t have any other ideas, nor do I wish to divide and rule. I firmly stand by my decision, for I know I have put in a lot of hard work and slogged day and night for more than a month to maintain the level and standard of ‘Rupnnem’. If tomorrow I happen to see a ‘Broadway Show’ in the West and find something nice in it that is suitable for our audience I will definitely experiment it on our stage. That’s what I mean by art having no barriers.

My audience who is my best judge has accepted me and appreciated my efforts at giving them something new, with ‘Rupnnem’ they have supported my work and accepted it.  If the tiatrs at the Kala Academy tiatr competition are appreciated and accepted, why not ‘Rupnnem’ which is on the same lines? I will endeavour to bring about new changes on stage.”

Irrespective of the end result of this adventurous step of Prince Jacob at translating a natak from other language, to give him the benefit of doubt, I personally feel it has been done with a progressive mind set. It is with constant experimentation and hard work alone that one can achieve success in any human endeavour and thus give birth to something new. Only time will reveal if with ‘Rupnnem’ Prince Jacob will have the last laugh and laugh all the way to the bank too!   (Goan Observer)