From an adaptation of an opera titled ‘Italian Boy’ by Lucasinho Ribeiro back in April 1892 and Joao Agostinho Fernandes’ first original script for ‘Cavelchi Sundori’ one year later, Goa’s unique performing art form has indeed come a long way. Today, the art form may receive government patronage through the TAG which was set up in 2009 to preserve, develop and promote it in a big way, but the fact remains that not only has Goa’s tiatr survived the last 125 years during which it has faced a lot of challenges, it has thrived thanks to both, the tiatrists who make it happen and the audience whose love for this unique dramatic form knows no bounds. Drop in at any commercial tiatr screening and you will likely find over 80% of the seats occupied, if not a full house. Even halfway across the world, Goan tiatr serves as a binding factor for Goans who come together and celebrate their culture and identity. And even today, the thought of a Goan tiatr brings memories of vehicles fitted with colourful posters and blaring loudspeakers and playbills chucked out of the windows. No doubt, Goa’s vibrant trademark theatre is today a robust industry with a strong focus on social, religious and political messages. All that’s left now is to involve the younger generation so that it continues to grow in quality, popularity and numbers.
