J Mario (Babit) Fernandes
The recent nasty development to engulf the Konkani tiatr may be a blessing in disguise. For quite some time now the Konkani stage has been taken hostage by a few artistes glorifying themselves on a variety of delectable epithets and sobriquets. It has been invaded by all and sundry thereby compromising the quality and respect it had earned through the passion, hard-work and great talent displayed by the artistes of yesteryears.
The writer/directors of the past produced some classics. Some even went to translate epic Shakespearean plays. The songs, the comedy, the writing, and the paraphernalia associated with staging a good play were all of a very high standard that was driven by pure passion.
Of late the tiatr has succumbed to commercialisation and greed of the producers. Well-researched themes are a rarity.
There are people in some quarters who still loathe it as a ‘subaltern’ activity. One has only to go through the history of this institution of tiatr to realise the lofty standards that the writer/directors of the past maintained, especially the ones based in Bombay then. The tiatr was held in high esteem by theatre-goers because the cast itself was made of shining beacons of drama. The writers were people of repute, and learned men.
A cursory glance at the numerous names in the tiatrs today will suffice to prove that many don’t take the stage seriously. Glaring spelling mistakes in their titles is a common sight. Even if standardisation of Roman Konkani hasn’t been accessible to them, there are numerous works of literature in the language that could be used as a reference for orthographic rules. One example is the Holy Bible in Konkani, that is a master piece in transliterating, translation and correct orthographic writing. The TAG or the Thomas Stephens Kendr could take the lead to initiate such courses for the writers and tiatrists.
Although the tiatr has and is still producing formidable writers, director and actors, sadly it has largely remained within a static region of popularity in its appeal and influence. That may be because good tiatrs are too few and far between, surfacing randomly in the sea of an ever-burgeoning tiatr industry. Few artistes have taken the tiatr beyond the traditional areas and communities to make a positive impact on them. Fewer have pervaded the religious divide.
Having said this there are many professionals too who have ventured into the tiatr world. There are bankers, teachers, govt. officials, academics, priests, advocates, businessmen and professionals in different fields who have forayed on to the Konkani stage, producing some memorable works including beautiful songs. And yet, the image of the tiatr has taken a battering due to some elements who have used it as a means for overnight publicity and personal aggrandizement.
So the recent fracas could be a blessing in disguise in so far as it served to bring about a sort of renaissance and generated a self-critique to restore and enhance the good name of this age-old Institution.
This is the time to seize the moment to impose self-restraint. By all means target the wrong doers: the establishment; the politicians; the authority. But please spare the bedroom!
