>From stage, to print
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THE PRINTED WORD | Frederick Noronha
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After years of attempting to fit into the Konkani
"mainstream", the still officially-unacknowledged Romi-script
network in Goa seems to be working hard to build its own
presence here. In the late 1980s and 1990s, the number of
Romi Konkani books published reduced to a trickle; but now
quite a few are being produced, as if to make up for lost time.
The other day, the Tiatr Academy of Goa published
three books in one go. These were slim titles, so
you could call them booklets. They're reasonably
priced, so little cause to complain. At the same
time, the books deal with three interesting aspects
of Goa's popular, vibrant and economically
sustainable tiatr -- a local drama form.
The title that catches your attention first is Daniel F. de
Souza's 'Oxem Ghoddlem'. On the cover of this book --
designed by artist-musician-singer Willy Goes -- there are
the mugshots of some 31 men and women. A closer look would
give hint that these are artistes from the local Konkani
tiatr stage.
This book takes a closer look at incidents from the lives of
Konkani stage artistes. Both author Souza and TAG's
Tomazinho Cardozo have explained (in the foreword, and at the
book release function respectively) how the book came about.
On the occasion of Tiatr Day, in April 2010, the
participants had some spare time in between
sessions. They decided to let their hair down, and
began narrating stories and experiences from their
past. While doing so, they realised that they
indeed had much to reminisce about. Of late, the
Goa government has been offering some support for
this long neglected sector (local lore has it that
the tiatr was sought to be kept out of the Kala
Academy at one stage). Consequently, the tiatrists
who have kept alive language and culture at the
grassroots, have the possibility indulging in
'luxuries' like publishing their scripts, or
recalling the past.
In this slim book, Daniel de Souza digs out the 'story behind
the stage' from the lives of a number of tiatrists.
Tiatr-goers would immediately recognise names like John
Claro, Sharon Mazarello, Tomazinho Cardozo (the former
Speaker who, mercifully, switched back from a term in
politics to far more productive work in theatre and song),
Rose Ferns, Premanand Lotlikar, Ophelia, Menino de Bandar,
Mario Menezes, 'Comedy Supremo' Humbert, Fr Nevel
("Vell'lekar") Gracias , Cyriaco Dias, Ben Evengelisto, ang
Anil Kumar, among others.
Short takes from the lives of these popular dramatists give
an insight into the persons and the stage. This century-old
stage form has long been popular in Goa, and more so among
the diaspora communities specially in Bombay where it first
came up. It is important to have it written about, before it
gets forgotten or memories get rusty.
In one mini-episode, comedian Humbert ("Prince"
Jacob's brother) narrates how they both were
scheduled to perform on the night their mother
suddenly died. Imagine a comedian having to show
up on stage amidst the grief! Humbert says the
tiatr was one of those rare shows at a Ganesh
Chaturthi festival programme. In most cases, the
tiatr has depended on a Catholic audience. Both
brothers decided not to let down their audience or
risk any misunderstanding. They actually staged
the show while at home their mother's body awaited
burial.
Anil Kumar narrates another episode when the Tempo a group of
tiatrists were travelling in met with a mishap en route to a
show at Honnavar, Karnataka. The story is one thing; the way
Anil Kumar narrates it is quite another. Maybe the written
word is inadequate when it comes to recording the lives of
the lovable characters from the tiatr stage. One could not
help rushing to watch a video recording of Anil Kumar talking
about this very same incident. Check it out at
http://bit.ly/AnilKumar
The second book makes accessible the script of Albert Leo de
Souza's tiatr 'Mummy Mhaka Tuje Vegent Dhor'. How does the
tiatr discourse of the 1980s sound today? Is it relevant or
have times changed quite drastically? How have themes
evolved? One will need to decide for oneself, after reading
the play written by the now retired teacher of SFX High
School in Siolim, Bardez.
The third book brought our way by the TAG is titled 'Lokam
Khell' by Vitorino Pereira. It contains the scripts of four
short Konkani plays with titles such as 'Kumparponn' and
'Amje Cheddea Bail'. This focuses on a peculiar Salcete form
of Carnival-time entertainment, the raw folk-plays staged "on
the floor" as it were.
Outside of Salcete, one might not even get a hint that this
form even exists in Goa. By some accident, my adventurous
Bengali journalist colleague of the 1980s, Debasish Munish,
now an academic in New Zealand, and me encountered this folk
form while passing through the village of Verna nearly a
quarter century ago.
This year itself, for the first time, the TAG had two
evenings of performances in Panjim. Greater awareness of the
diversity that makes up today's Goa is surely welcome. These
publications could be a step in that direction.
Disseminating them optimally remains the challenge though.
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Oxem Ghoddlem: Tiatristanchea Jivitantleo Kaim Venchik Ghoddneo
Daniel F. de Souza
Pp 90, Rs 70, 2012, TAG
Mummy Mhaka Tuje Vegent Dhor
Albert Leo de Souza
Pp 36, Rs 50, 2012, TAG
Lokam Khell
Vitorino Pereira
Pp 36, Rs 50, 2012, TAG
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http://www.flickr.com/photos/fn-goa/6926943799/in/photostream
http://www.flickr.com/photos/fn-goa/6926943797/in/photostream
http://www.flickr.com/photos/fn-goa/6926943793/in/photostream
http://www.flickr.com/photos/fn-goa/6926943785/in/photostream
http://www.flickr.com/photos/fn-goa/6926943779/in/photostream
http://www.flickr.com/photos/fn-goa/6926943777/in/photostream
[Contact the columnist on f...@goa-india.org or 2409490 or
9822122436, after 1 pm.]
First carried in Gomantak Times, Feb 27, 2012.
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