It is with great joy that I present my vision for Tiatr on the occasion of the 18th anniversary of The Goan; a newspaper that I have been writing on the topic of Tiatr since its first edition. Today, I can say with pride that the contribution of The Goan towards Tiatr is immense, path breaking but overall sincere and unbiased.
Before presenting my vision, let’s take a look at the circumstances in which the first Tiatr was staged. According to the article written in the Ave Maria newspaper, by Pai Tiatrist, Joao Agostinho Fernandes, to celebrate the golden jubilee of Tiatr, the existing forms of Zagor and Khells had brought a bad name to Konkani theatre and hence, it was very difficult to find educated artistes to act in the first Tiatr.
The requirement to stage the first Tiatr was of nine artistes but Lucasinho Ribeiro the ‘Pai’ or Father of Konkani Tiatr managed to get only four actors besides himself, Joao Agostinho Fernandes, Caitaninho Fernandes, Agostinho Mascarenhas and Fransquinho Fernandes.
When it gets difficult to proceed due to the footfall of the sixth character of the plot, they decided to cut the act for a break so that the artiste could change the velvet costumes. During the break, songs were introduced. Thus, the concept of ‘porde’ got introduced with breaks in the play and with this the format of Tiatr took form.
Interactive songs in the form of duo, duet, trio, quartet, quintet and sextet too were introduced subsequently borrowing the form of singing that was existing in the ‘concertos’ that were presented near the church as part of the activity of the ‘Escola Parochial’ in which Music had good weightage. With the passage of time, the interactive songs became a formidable force of ‘divertimento’ for people.
Tiatr today
The Tiatrs presented in the competitions organised by Kala Academy and Tiatr Academy of Goa (TAG), are the only sources of watching an authentic Tiatr. Which in clear terms implies that it is only Tiatrs at the non-commercial level that follow the format of Tiatr.
The present day ‘commercial Tiatr’ staged by the topmost directors of the day or rather ‘kings with varied nomenclature’ are mere Konkani entertainment with no ‘Tiatrical format’ in them. There was not a single Tiatr in the right format, even the Tiatrs presented in the Tiatr festivals organised by the TAG at Sanvordem and Vasco recently.
Kala Academy competitions
If Tiatr today is visible in the right format with the prescribed interactive songs and comedy interwoven in the plot, it is at the Tiatr competitions organised by Kala Academy during the last 50 years.
These competitions today spanned in A and B level groups have nourished and taken Tiatrs to greater heights. These non-commercial presentations have shifted the focus from the century old mother-in-law and daughter-in-law relationship, that is the main story of current commercial presentations, to modern topics. Surrogate motherhood, inquisition, prison ministry, destruction of Goa, effects of tourism, drug addiction, AIDS, live-in relationships and many other serious topics have formed the crux of the storylines. Tiatr has also seen the levels of other language productions in the technical fields like stage setting, lights design, background music costumes and make up etc.
These competitions have however earned a bad name due to unfit judges judging the competition. Recently, when the minister concerned called for a meeting of A Group participants to discuss the competition, and when a participant asked the organisers on what basis a particular priest was selected as the judge for the competition, the organisers had no answers, bringing to the fore that judges are appointed by shadowy people masquerading as Tiatr promoters with the organisers!
A fleeting glance on the judges appointed in recent times will surely bring to the fore that genuine talent is rarely seen as a criteria in the appointment of judges. If Tiatr has to survive the onslaught, persons with integrity should be appointed on the advisory panel.
Political songs
Political songs is definitely a part of Tiatr culture. We are told that Minguel Rod left Goa for then Bombay after he realised that the police were planning to arrest him for singing against the government. Over the years, songs criticising the government policies were belted out and served as an eye opener for the audience.
Tiatr songs played a major role during the campaign for Opinion Poll and the Language Agitation. Tiatrists like journalists are the fourth pillar of democracy. Freedom of speech enshrined in the constitution gives them the right to criticise the wrong decisions and faulty statements of the politicians.
The Tiatrists too should refrain from making unwarranted derogatory comments and hitting below the belt which is in bad taste. They should stick to the topic and sing political songs with dignity. If the politicians have faltered they need to be targeted; bringing in their families is surely out of taste.
The Church contribution
The growth of Tiatr into one of the most vibrant forms of entertainment is due to the patronization of Tiatr by the Goan Church. Before the advent of the television, every church and chapel saw a presentation of Tiatr by the villagers on festive occasion. Today barring the monsoon season, the church stands as a major promoter of Tiatr.
This promotion should, however, be selective. The priests should send their parish association members to watch the performance and then book the Tiatr for performance in their parishes. Blind booking of Tiatrs looking at the comedians or stars in the cast often lead to disappointment and regrets, in the bargain, good Tiatrs with proper formats are left aside and Tiatrs with vulgar and degrading comedy are popularised.
New directors and artistes too should be given a platform after watching the performance.
In conclusion, the audience too should upgrade their taste and be vocal about the performances watched. Flattery should be avoided in the interest of Tiatr. If Tiatr flourishes and prospers it is but natural that the Tiatrists too will prosper.
