The storm created with the news of a
censorship board may be set up for stage performances, including tiatr, seems
to have blown over for the moment. That is good for the tiatr fraternity as
well as tiatr lovers. Though everyone is in denial, the controversy has not
died down totally. It’s good to know that the idea was not mooted at all. There
are fears though that the issue may rise up all over again in a different form
after a few months. The issue needs to be buried once and for all. The tiatr
fraternity and tiatr lovers need assurance from the Directorate of Art &
Culture that the issue of setting up a censor board for performances including
tiatrs and plays has been buried and will not rise again.
Goan tiatr is the mass entertainment
media in Goa and is 122 years old. It is regarded as the mirror of the Goan
society. It has a rich and well documented history. Goan tiatr has stood the
test of time, weathered all storms. it has the capacity to keep a tab on the
pulse of the society at large, including the political scenario at any given
time. In many ways, it’s a vehicle for social reform in society.
It is an undeniable fact that Goan tiatr
is the most reasonable form of entertainment in terms of the entrance fare
charged as compared to any other entertainment, thereby making it more
accessible. Along with its mass appeal, it has even attracted litterateurs to
study its evolution, growth and development. Research papers and books on tiatr
have been published. Tiatr is an integral part of Goa’s rich culture, and
that’s how it is.
An ounce of satire in a tiatr is the
essence and flavour of it. One just cannot wish it away just because it exposes
the sins of omission and commission of a few, or for whatever other reasons.
Tiatr is deeply rooted in Goa, across the talukas. The bond is too strong to be
separated by whatever means. If anyone attempts to weaken the bond of unity
between the tiatr stage and the tiatr lovers, it is sure to have a counter
effect.
The humble Goan tiatr today provides
gainful employment for thousands of Goans in different forms. There are very
many families who depend solely on the tiatr for their livelihood and they are
proud to admit it. The tiatr stage is a gainful employer to those who are
talented in a time when getting a decent job is a big challenge. And tiatr is
only getting bigger and better. More people from other fields too are attracted
to the magic of tiatr. It has the potential and prospects of achieving great
heights in the near future if nurtured well. Tiatr has traversed the globe from
the East to the West and its marching steadily.
Introducing a censor board to scrutinise
the script, song lyrics and the other activities of the Konkani theatre and
tiatr is neither the solution nor the need of the hour. It is just not
practicable to bring the tiatr under the purview of a censor board for many
reasons. This has been made amply clear to the authorities by the tiatrist
fraternity time and again. Their views need sympathetic consideration. The
reasons are many, and need to be examined very closely without any bias. They
are open to self-regulation. A censor board for performances including tiatrs
or plays will cause more harm than good and kill the creative talent and the
art in the nascent stage thereby discouraging upcoming playwrights and
artistes. In the Goan tiatr field, theatre art is passed down generations, it
is congenital, it is deeply rooted in the genes and it shows up at the right
time. Putting restrictions like censorship will kill the inborn talent at the
initial stage. Youngsters who have to take tiatr culture forward will shy away
from coming into the field and taking the art forward.
Knowing the importance and relevance of
tiatr, the Congress Government despite being in the focal point of the
tiatrists’ attacks, established the Tiatr Academy of Goa to support and
encourage the tiatr activities, as also named the Ravindra Bhavan at Margao
after Joao Agostinho Fernandes Pai Tiatrist. In the six years of existence, TAG
has done a lot for the betterment of tiatr. Its greatest achievement is that it
has attracted the younger generation to the stage. We just can’t burden these
youngsters with the issues of a censor board and drive them away from theatre
art. We need to prepare their path without obstacles, hurdles and limitations.
In a democratic set-up, we surely can’t stifle their voices, restrict their
creative imaginations and limit their sense of speech and expression through
censorship. Rather, it would be advisable and more important to look into the
pressing issue of setting up a dedicated auditorium in Panjim exclusively for
tiatr performances, to meet the growing demands of the fraternity since the
availability of the Kala Academy auditorium is not sufficient to meet their
growing needs.
I am fully aware that there has to be
some regulation for the performing art. Name calling and personal attacks are
not always pleasant to civil society. But this can be achieved by
self-regulation by each and every playwright and director. It is necessary for
lyricists to analyse the critical songs sung by deceased tiatr stalwarts like M
Boyer, Remmie Colaco and Kid Boxer too. Moreover, I think directors and
playwrights are exercising their right to self-regulation, a few exceptions
here and there can be made to fall in line. The onus should be on the
directors. They are capable and responsible enough to draw a line. TAG too is
capable of tying up a few loose ends, but a censor board is out of question.
