In recent years, black and gloomy clouds dawned on the tiatr stage as the tiatr fraternity and tiatr lovers across Goa witnessed untimely demise of many noted tiatrists. Among them were three well known directors, namely Fr Neville Gracias, Mario Menezes and comedian Selvy. Soon thereafter, a noted villain of the Konkani stage, Jaju followed his tiatr mates and took off to heavenly abode, after a massive heart attack in the hospital. All deaths of the stalwarts came unexpectedly and as a big shock to the tiatr fraternity and the tiatr buffs across the globe.
But as it is rightly said ‘….the show must
go on’, tiatr, which is an age-old traditional art and culture of Goa and Goans
at large, irrespective of the departures, the scripting, direction and staging
of tiatrs will continue on the Konkani stage and will flourish for years to
come.
But of late, with the loss of stalwarts of
the tiatr stage, somebody has to carry forward the baton that has been passed
on by several of the senior tiatrists. Will the newcomers, who make a cameo,
and the young blood, who are steadily leaving a mark on the stage, take the
rich art and culture forward for future generations? Or will tiatr along with
the tiatrists encounter a slow death?
“It’s the rule of nature that the old has
to make place for the new,” shares Wilson Mazarello, a senior tiatrist of the
Konkani stage, “so it is in tiatrs too. The stalwarts have to go some day and
the newcomers have to replace them.” He opines, “They have to not only replace
them but endeavour to do better so that the Konkani stage is always in a
progressive mode. It’s a responsibility. Whether this is really happening or
not in tiatrs today is for the audiences and well-wishers of tiatr to decide. I
for one am always optimistic.”
Vice-principal of St Alex Higher Secondary School, Curtorim and
another senior tiatrist, Chitra Afonso says, “Our youngsters are our future on
the Konkani stage. We need them to carry forward the rich art of our
ancestors.” She admits that there are many talented boys and girls who have the
capability and can carry forward tiatr for future generations to enjoy.
Chitra mentions, “We have lost so many stalwarts in the past two
years. Some are not in good health. Most of the tiatrists have settled in the
UK and consequently, we have very few artistes left in Goa. But tiatrs should
continue on the Konkani stage and this is possible only if our youngsters come
forward to act and sing, thus showcasing all their theatrical talents and
flourishing.”
“As they say the show must go on,” mentions Irineu Gonsalves,
another tiatr director, “the younger generation has the wherewithal to take it
forward. It all depends on the way they go about it.” “Certainly, the void
created after the demise of the stalwarts is very difficult to fill in. The
present generation is committed and determined as the older generation, though
not as talented as the stalwarts of this age-old art of entertainment,” he
adds.
No doubt, many youngsters, who have already made an entry on the
tiatr stage and left a lasting impression on the minds of the tiatr lovers by
way of acting and singing, are gradually jumping into the director’s shoes. To
garner better experience, initially some of them scripted and directed
‘zomnivhele khell’ during Carnival and later penned, directed tiatrs for their pleasure
and the satisfaction of the tiatr audience.
The young, who present themselves as tiatr directors today
include Joesan Afonso, Franky Gonsalves and others. The former created a mark
by penning folk plays, staging them across nooks and corners in the villages
and winning audience appeal. The latter made entry in tiatrs of noted
directors, showcased his extraordinary theatrical skills and then plunged as a
tiatr director, with three tiatrs under his sleeve, carrying different concepts
altogether.
Filipe Dias, a tiatr lover from Maddel, Margao says, “There was
a continuous and tremendous earthquake in the world of tiatr from last 10
months, thus losing great precious pillars of the tiatr stage. It’s truly
heart-breaking and shocking news for all the tiatr lovers. They all left before
time, but they all left their unique and different footprints behind. Our
younger tiatrists should follow and learn from those stalwarts who conquered
the hearts of tiatr lovers and earned a special place in their hearts,” he
adds.
“It’s sad to see tiatr losing stalwarts,” states Aplon, another
tiatrist, “but at the same time it’s magical to see how the young talents are
trying their best to take it forward. With the changing time, tiatr lovers
should be more receptive to the advanced ways in which the younger generation
tries to take tiatr forward while at the same time the younger generation
should not forget the essence that tiatr has been carrying all these years.
Ultimately, it's about maintaining our culture and keep the tiatr flag soaring
high.”
There’s comedian Joyel and Willy Silveira as well, who emerged
as young directors on the tiatr stage. The former came in as a comedian in
tiatrs staged by noted directors, Pascoal de Chicalim, Elvis/Carmin, Calado de
Verna and Roseferns and then presented himself as director of comedian
Agostinho’s tiatrs ‘Inas‘ and ‘Chor’. The latter has a couple of tiatrs under
his sleeve and is picked as a favorite among the viewers.
“Undoubtedly, the baton will be carried forward by the young
directors but the new blood seen on the tiatr stage has much to learn from
their seniors. Yearning to learn something more from the elders, especially
ethics, is less seen among the present new generation. Years back, when we made
an entry on the Konkani stage, we always respected our senior tiatrists and any
correction made, big or small, would be gracefully accepted and rectified as it
was for our wellbeing and growth of the tiatr stage. But today, small
rectification is accepted with a frown, as if to say they know everything and
anything of tiatr,” says senior-most tiatrist Jessie Dias.
“When it comes to solo and other renditions, many new artistes,
including the seasoned singers, do not know which way to make the entry and
which way to make the exit on stage. When young and amateurs, we were strictly
instructed that the entry has to always be from right to left and not
vice-versa. But today, nobody adheres to this rule, which is a must in any
tiatr,” says senior tiatrist, C D’Silva.
“Secondly,
mikes are placed on stage so that the voice of actors and singers may reach the
audience,” continues D’Silva, “but unfortunately, today most of the artistes
come close to standing mikes for any and every dialogue delivery. This trend is
wrong and it has to stop. Mikes are only means to help your voice reach the
spectators. If you are going to approach the mike for dialogue delivery, then
where are your actions? Concentration will go totally into dialogues than
actions. Consequently, all the acts will go haywire, thus resulting in poor
performance,” he reveals.