TIATRO SORO.
When the first Tiatro Italian Bhurgo was staged in Bombay on 17th April
1892 by the founder of Tiatro, Mr. Lucasinho Ribeiro from Assagao, Bardez,
Goa, his dream was to make this art as a great weapon for the benefit of
Goan community in particular and Konkani in general. During those early
days this art was not patronized by hoi polloi audience. Even the
artistes were of higher grade in their social and otherwise standings. I
had an opportunity to meet and talk to one of the descendants of Lucashinho
Ribeiro who freely expressed that Lucasinho was very proud after the success
of creating Konkani Tiatro and had great hope that this beautiful art would
be handled by the artistes of calibre and also attended by the audience of
calibre. But gradually this art went into the hands of some disgraceful
artistes whom once at Khursachea Moidanar in Bombay, Joao Agostinho
Fernandes whom we call Pai Tiatristancho called as Rostad because Mr.
Fernandes agonizingly lamented the dirtiness and ugliness these few
tiatrists promoted from the stage. The word Rostad is not mine but it came
from the mouth of Joao Agostinho Fernandes. In fact for many years tiatro
not only remained into the hands of bad people but even the audience was
bad. Precisely because of this, the elite, decent and people of character
refused to patronize this beautiful art. I have seen with my own eyes as a
small boy in our village and elsewhere while interacting with tiatrists of
yesteryears how filthy and dirty and drunkards some of them were. The
soro they were drinking before and during the tiatro was worst besides in
their day to day life soro was their tonic and womanizing was their forte.
Concubinage was the hallmark of some of them. Forgetfulness and neglect of
their wives and children was their routine. If it was not for their
excessive soro, great tiatrist Minguel Rod would have been writing so much
and so beautiful. Oh! What a tragedy that this man died at so early age due
to excessive soro and thereby denied us Goans and Konkani lovers so much
of beautiful on Konkani stage. Where else and when we can get another
Minguel Rod? Since his death, no tiatrist can pen down as beautiful tiatros
as he used to with most sorrowful cantos like Motets. One day I was
told by Anjuna Church Choir Master (Mistir) the late Mr. Pedrinho, while I
was learning Violin from him in early sixties that once during Lent he
played instead of Motet the tune of Minguel Rods Canto from his most
memorable tiatro Ghorib Sezari. What a masterpiece it was. As a small boy
even I cried along with elders while Miss Julie rendered this canto. Soro
has destroyed best of Goan Konkani talent. What about Champion Peter? Was
it not excessive Soro that killed him? Can anyone after him play the role
of traditional Goan Hindu Goldsmith? It was a pity that no saner Goan not
even from Church circle guided these giants into decency. I think our
elders of those days and society as a whole failed in their mission of
guiding people of talent in right direction.
During those days regretfully Tiatro was patronized by lower and middle
class of Goans, upper strata of Goans was rarely attending this beautiful
art. One of the reasons was because of the disgracefulness displayed in
action and in expressions by the artistes from the stage and secondly
because of the rubbish Goans among the audience. Who are these rubbish
Goans? They are all Bebdes, drunk to the brim and in readiness to create
fights in the hall. Many times during those days Bebde audience used to
fight and disturb the atmosphere in the hall or mattou. I saw in 1960 for
one tiatro at Mapusa during the feast of Milagres Saibinn, how the then
terror Policeman, Cabo Sukddo at the entrance inside the hall holding his
Revolver and threatening the rowdies mostly the Bebdes that he will shoot
them if they dont maintain discipline inside. But Bebdo is a Bebdo. When
he is drunk he is animal or worst than animal. These type of animals are
bringing bad name to Tiatro which is a beautiful art but unfortunately
because of such Bebdes many time Tiatros are interrupted and stopped.
Unfortunately, when this topic of Bebde audience is raised many of the other
Bebdes identify themselves with their bebde brothers and hurl accusations on
me for raising this issue openly. Ultimately a bebdo will support another
bebdo. This is the tragedy. In late sixties Kid Boxer was staging Minguel
Rod's tiatro Lemddo Santan at Panjim. Suddenly due to delay in starting
the tiatro, some misunderstanding occurred between a section of the audience
and organisers and there was uproar in the hall. Most of the rowdies fully
drunk, in this commotion, got up and walked away with the Chairs on which
they were seated. In this situation the director was forced to stop the
staging of that tiatro and the organisers suffered heavy
