When the curtains rise-- : understanding Goa's vibrant Konkani theatre PDF
Preview When the curtains rise-- : understanding Goa's vibrant Konkani theatre
generated by JPG to PDF www.jpgtopdfconverter.net When the curtains rise... Understanding Goa’s vibrant Konkani theatre AndréRafaelFernandes,Ph.D. Whenthecurtainsrise...UnderstandingGoa’svibrantKonkanitheatre ©AndréRafaelFernandes [email protected]@rediffmail.comPh+91-9823385638 PublishedwithfinancialsupportfromtheTiatrAcademyofGoa(TAG) S-4,BlockA,2ndFloor,CampalTradeCentre,Opp.KalaAcademy, Campal,[email protected] Editing,inside-pageslayoutandbookproductionbyFrederickNoronha Goa,1556,784Sãligao,403511Goa.Ph+91-832-2409490 http://goa1556.goa-india.org CoverdesignbyBinaNayakhttp://www.binanayak.com PrintedinIndiabySahyadriOffsetSystems,Corlim,Ilhas,Goa TypesetwithLYX,http://www.lyx.orgTextsetinPalatino,11pt. CreativeCommons3.0,non-commercial,attribution.Maybe reproducedfornon-commercialpurposes,withattribution. ISBN978-93-80739-01-4 Frontcoverillustrationdepictsahandbillforthe1904performanceof Batcara.Listofcharactersconfirmstheearlyparticipationofwomenin thetiatr,atatimewhenthiswasnotprevalentinotherIndiantheatre forms.Alsoonfrontcover,ahandbillofBatcara,stagedin1915forthe Women’sWarReliefFundinWorldWarIdays.Backcovershowsa partialfacsimileofabookbyPaiTiatristJoãoAgostinhoFernandes. Price:Rs.195inIndia. Contents 1 Originofthetiatr 1 Indigenoustraditions: Goa’sfolkperformances . . . . . . 8 Tiatr’sprecedents . . . . . . . . . . . . . . . . . . . . . . . 12 FolkartformsofChristiansinGoa . . . . . . . . . . . . . 19 2 Legacyofmusic,song 25 Indianclassicalmusic: Hindustani,Karnatak . . . . . . . 26 Musicalinstruments: fromtheghumoton . . . . . . . . . 27 WesternmusicinGoa: fromthe16thcentury . . . . . . . 28 Newinstruments,textures,forms,genres . . . . . . . . . 28 Secularmusic,variedinfluences. . . . . . . . . . . . . . . 30 TheDekhni,ablend . . . . . . . . . . . . . . . . . . . . . . 30 Ovi,originsamongtheearliestfolkmusic . . . . . . . . . 31 Dulpod,eachlinesungtwice . . . . . . . . . . . . . . . . 32 InfluencesontheMando . . . . . . . . . . . . . . . . . . . 33 OriginsoftheMandocontested . . . . . . . . . . . . . . . 34 Mando,ovi,dulpod . . . . . . . . . . . . . . . . . . . . . . 34 Aquatrain,theearlyformoftheMando . . . . . . . . . . 35 Musicschools,wellpromoted . . . . . . . . . . . . . . . . 36 InBritishIndia,andBombay . . . . . . . . . . . . . . . . 37 Soundscapesforsilentfilms . . . . . . . . . . . . . . . . . 38 SeizingJazz . . . . . . . . . . . . . . . . . . . . . . . . . . 39 3 Teatro,Theatro,Tiatro,Tiatr 44 iii Contents KhellsandZagorsinBombay . . . . . . . . . . . . . . . . 44 ThebeginningsofKonkanitiatr . . . . . . . . . . . . . . . 45 Behindthename: etymologyoftiatr . . . . . . . . . . . . 48 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . 55 HindusandaMuslimonthetiatrstage . . . . . . . . . . 57 Fewfull-timers . . . . . . . . . . . . . . . . . . . . . . . . 57 Auniquemethodofpublicity . . . . . . . . . . . . . . . . 58 Performancesandvenues . . . . . . . . . . . . . . . . . . 59 4 PaiTiatrist 63 Withoutpersonalbenefit . . . . . . . . . . . . . . . . . . . 66 Honestyandhumility . . . . . . . . . . . . . . . . . . . . 67 Agoodartiste . . . . . . . . . . . . . . . . . . . . . . . . . 69 Influenceoflanguages . . . . . . . . . . . . . . . . . . . . 69 Actors,addingvaluetothestage . . . . . . . . . . . . . . 69 Amodelfortiatrists . . . . . . . . . . . . . . . . . . . . . . 70 Hisplays . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Analysisofhismajordramas . . . . . . . . . . . . . . . . 72 TheBelleofCavel . . . . . . . . . . 73 Bebdo(TheDrunkard) . . . . . . . . . . . . . . . . . . 78 Batcara(TheLandlord) . . . . . . . . . . . . . . . . . 81 Vauraddi(TheLabourer) . . . . . . . . . . . . . . . . 87 KunbiJakki . . . . . . . . . . . . . . . . . . . . . . . . 93 KunbiJakkiandhisCelebratedCause . . . . . . . . . . 97 5 Othertiatrists 132 Phasesofthetiatr . . . . . . . . . . . . . . . . . . . . . . . 134 TheEarlyPhasefrom1892to1930s . . . . . . . . . . . . . 135 TheGoldenPhasefromthe1930stothe1970s . . . . . . . 136 J.P.Souzalin . . . . . . . . . . . . . . . . . . . . . . . 137 A.R.SouzaFerrão . . . . . . . . . . . . . . . . . . . 138 AleixinhodeCandolim . . . . . . . . . . . . . . . . . 139 KidBoxer. . . . . . . . . . . . . . . . . . . . . . . . . 141 C.Alvares . . . . . . . . . . . . . . . . . . . . . . . . 141 RemmieColaço . . . . . . . . . . . . . . . . . . . . . 143 PremKumar . . . . . . . . . . . . . . . . . . . . . . . 144 M.Boyer . . . . . . . . . . . . . . . . . . . . . . . . . 145 JohnClaro . . . . . . . . . . . . . . . . . . . . . . . . 146 iv Contents Thecontemporaryandthenon-stoptiatrphase . . . . . . 147 6 Challengestoday 150 Competitionfromotherformsofentertainment. . . . . . 151 Ratesoftickets . . . . . . . . . . . . . . . . . . . . . . . . . 152 Declineinvillagetiatrs,children’stheatre . . . . . . . . . 153 Trainingandperformanceopportunities . . . . . . . . . . 154 Crisisintiatrs . . . . . . . . . . . . . . . . . . . . . . . . . 155 7 Ontoarevolution 159 8 Listoftiatrpersonalities 164 Selectedbibliography 179 Primarysources . . . . . . . . . . . . . . . . . . . . . . . . 179 Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Newspapers . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Magazines . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Multimedia. . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Websites,onlinepostings . . . . . . . . . . . . . . . . . . 194 v Dedicatedtotiatristsdown theages... the pioneerswhostruggledtodevelopthe art, the veteranswhopersistedinkeeping italive, the contemporarywhopersevereenthusiastically. Foreword THE TIATR ACADEMYOF GOA is pleased to publish this book, When the curtains rise... Understanding Goa’s vibrant Konkani theatre, written by Dr. André RafaelFernandes. In fact, this was thethesiswrittenbyDr. Fernandesforhisdoctorate.FortheTAG, itisamatterofpridethatDr. Fernandesobtained hisPh.D. ona subject–theGoantiatr–whichisthemostpopulardramaticform ofGoa. The Goan tiatr has progressed in all aspects during the last 118 years. Year after year, its popularity too has reached greater heights. Yet, upto now, there has been no authentic documenta- tiononthetiatr. Thisvacuumisbeingfilledwiththepublication ofthisbook. Dr. Fernandesgoesdeepintotherootsoftheoriginofthetiatr. Heanalysesthetiatr,itssonganditsmusicandhemakesasincere attempttodepictitinanauthenticmanner. While doingthis, he alsoattemptstowidenthevisionofthereaderbyprovidingaddi- tional information about the drama of that time enacted in some vii of the other languages in Goa and Bombay. While dealing with theKantaram,thesongsthatformanessentialpartofthetiatr,he alsoenlightensthereaderwithdetailsofnumerousKonkanifolk songsandfolkmusic. Whenthecurtainsrise... isdefinitelyanimportantworkofdoc- umentation on the tiatr, its song and its music. The TAG thanks Dr. AndréRafaelFernandesforhissuperbpresentationofthehis- tory of the tiatr and hopes that this book will go a long way in preservingtheauthentichistoryoftheGoantiatr. TomazinhoCardozo President TiatrAcademyofGoa,Panjim, March29,2010 A debt of gratitude WITHA PROFOUND SENSEofgratitude,Iacknowledgemyin- debtedness to Professor A. K. Joshi, former Head of the Department of English, Goa University. It was under his guid- ancethatthethesisthatwentintothisbookwasbegunandcom- pleted.Withouthisscholarlysupervisionandperceptivecriticism theworkwouldsurelynothavegainedinintensity. Thanks are also due to the Goa University authorities — the Vice-Chancellor, the Registrar, andother officersand staff. To all ofthem,athanksfortheirhelpandcooperation. IalsothankProf. A.V.Afonso,Dean,FacultyofLanguages. To all my colleagues in the Department of English — Dr. Sri- padBhat,Dr. KiranBudkuley, Dr. AnitaVashishtaandDr. Nina Caldeira—a genuine thank you for their support. I amgrateful tothelateDoutoraSelmadeVieiraVelhoforherencouragement andassistanceindocumentingandtranslatingoriginalsourcesin Portuguese. My gratitude goes to all the Goa University library staff for ix
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