Photo Credits: LEAD - pg 10_2
Tiatr today is the most successful form of commercialised theatre and has indeed achieved the numero uno position in the country even though the Konkani speaking people scattered over the world are a miniscule minority. Goans may or may not speak or read Konkani in their day to day lives, but their love for Konkani tiatr is truly unparalleled. So what is it that attracts hordes of people to the city auditoriums? What is it that leads people to the makeshift mattov? The answer is the variety of entertainment offered in a tiatr that has made the format of tiatr unique, and which has been tried and tested over the last 123 years of its existence.
So what is it that makes tiatr a ‘tiatr’? A peek into its humble beginnings will assist in understanding this innovative and extempore form of art.
Prior to April 1892, various forms of art were predominant in Goa. Ballroom dancing was introduced in Goa in the 1830s and inferences to the existence of our Konkani mando; a song and dance form of art in 1845 are found. The Parochial Schools produced quality musicians, be it singers, or musicians with expertise in string (violin, banjo etc), wind (trumpets, trombone, French horn etc), reed (saxophone, clarinet etc) instruments. The musical concertos and sanctos passos presented by the ecclesiastical authorities for the propagation of values and faith became a strong form of theatre. Khells were prevalent in Salcette and zagors towards the north especially in the villages of Bardez. However the cast system predominantly prevalent in Goa in those times segregated the art forms compartmentalizing the same within the framework of the prevalent caste system. Thus Mando became the monopoly of the erudite and elite upper castes comprising of Brahmins and Kshatriya/Chadd’dde. The khells found favour with the middle class traders (Shudirs) and Zagors were predominantly for the labour class comprising of the Gawddas and Kunnbis.
With bhattkarponn thriving and the bab culture prevailing, there was a lot of resentment brewing amidst the lower strata comprising of the other backward classes and shudras. This resentment coursed its way in their prevailing art forms mainly the khells and the zagors. While zagors were synonymous with crudeness, abuse and below the belt punches, the khells were seen as an avenue to avenge for the insinuations and insults heaped upon the working masses by the scrupulous landlords and their wayward sons. With the passing years the crudeness grew and educated and well meaning people alienated themselves from this art form.
The blooming of the textile industry in Bombay during the second half of the 19th century drew many Goans to that metropolitan city in search of greener pastures. The village kudds served as a perfect locale for Goan unity. People with decent jobs opted for smaller chawls, but wherever Goans set foot, their camaraderie continued and folklore flourished. With this, the zagors and khells of Goa too found a venue for presentation. The upper middle class and the educated class, patronized English and Portuguese plays that were presented by groups like Instituto Luso Indiano and their like in Gaiety Theatre and Cawasji Hall. While well placed and educated Goans in Bombay patronised English and Portuguese plays, the existing Konkani theatre in the form of zagors and khells became the laughing stock. It is here that a great Konkani lover stepped in.. to change the existing scenario and to take it to greater heights. And he did succeed when Italian Bhurgo, an adaptation of an Italian Opera, was staged on Easter Sunday, April 17, 1892 at The New Alfred Theatre Mumbai. The name of the Konkani mogi was Lucasinho Caridade Constancio Ribeiro, a young lad of 27 years hailing from the picturesque village of Bardez-Assagao.
