Originally written by: late Dr. Olivinho Gomes
Updated by: Tomazinho Cardozo
Konkani drama began under fortuitous circumstances, though the dramatic art has been practiced in Goa for centuries earlier, as can be perceived from the aitika arrangements for such events being mentioned in our old records. The formal writing of a drama in a new form called Tiatr dates back to a more recent date, that is 1892. Lucasinho Ribeiro, who hailed from Assagao in Bardez-Goa, had earlier been working in the Italian Opera Company in Bombay and keenly watching the musical plays being performed by it in that city. Based on that experience he dared to write an operetta on similar lines in Konkani which he entitled Tiatr, a new genre in drama that has since burgeoned forth into a very popular theatre form. He called it Italian Bhurgo and it was performed in Bombay in 1892, at the New Alfred Theatre in that city, with the help of Caetaninho Fernandes of Taleigao who worked in the Bombay Gazette, and Joao Agostinho Fernandes and Agostinho Mascarenhas, both of the latter being from Margao-Goa.
Ribeiro wrote it based on the original Italian operetta entitled Fratelli Gonzalez or The Gonzalez Brothers.This was the first dramatic piece of this genre. Its unqualified success spurred on the playwright that he had become, to write and produce his further experiments in the genre which had all the elements of entertainment and education such as a core play, with interspersed music, song and dance that mirrored the foibles and failings of contemporary society. They were based on well-known stories then in circulation among educated Goans in Bombay who were accustomed to read such stuff of fiction from Arabian Nights and in English, like: Alladin, Ali Baba and Carlos Magno, the last-mentioned on the famous ‘Holy Roman’ emperor Charlemagne.
S.S. de Jesus Dias’ moralistic drama entitled Dog iskoliche bhurge (1895) contrasting the lives of two boys, Ferdinando and Lucas, representing the rich and poor respectively, an original comedy, in three Acts, was staged at the famous Gaiety Theatre in Bombay, by the Globo Lusitano of the Dramatic Association, on 26th September,1895, and then printed in book form in the self-same year, with a second edition in 1903 .
Aggregated to Lucasinho mentioned above, were: Joao Agostinho Fernandes (1871-1947) and Agostinho Mascarenhas of Margao, and Caetaninho Fernandes of Taleigao (Goa), as mentioned above.Agostinho was well-educated and worked as an officer for a number of years for the British firm Phillips&Co, in Bombay. He wanted to reform the Konkani stage and purge it of all the impurities of the zagor performances that he thought defiled it. He ventured to write and stage a number of innovative plays, in one of which, Bhattkara, enacted on 22nd November, 1904, acted his wife, Regina, originally from Portuguese Macau on the Chinese coast, in the first-time female role in drama, when no woman dared to act on the stage for fear of ostracism, in which circumstances only men were compelled to play the female roles.
Agostinho penned about thirty full-length plays and comedies, in which stand out a rich imagination and contemporary characterization subjected to ridiculous satire on the social and political scenario of the day in Goan society, that set the tone to future compositions in the genre. He infused a great deal of realism in his plays and sought to portray the evils of casteism, alcoholism and dowry that threatened seriously the harmony of Goan society to its foundations. For he was brought up on a diet of study of the works of Congreve, Hartley, Dickens, Cervantes, Schiller and Moliere. He enacted his plays which were mainly dramatic-musical compositions in the manner of operettas. They were very successful and the most memorable among them, with songs to enliven it, appears to have been Kunnbi Jaki (1949), staged in Bombay, that held the audiences spell-bound.
Cavelchi Sundori or Belle of Cavel was his first play written and staged in 1895, depicting Goan life. His next play was entitled Revolta de Satari on the revolt of the Ranes, a warrior group claiming Rajput lineage linked to Rajasthan, a political drama with social satire dripping from it. Thereafter came his Bhattkara in its first (1909) and second part (1916), in which he bitterly lampooned the obnoxious caste system prevalent in Goan society even after conversion to Christianity of their forebears and their consequent going out of the pale of the caste system on being outcast by the original Hinduism they came from. A substantial book containing drama, biographical sketches and questions of dowry was entitled Drama, comed & farsam, Batcara, Ven.Padre Jose Vaz & Dotichem Kestaum and published in Vol.I. in 1937, which was followed up with another volume subsequently. His Tandllanchem Kestanv is a tug-of-war of a drama around demand and supply of rice, that provides some comic relief.
He came to Goa in 1943, and staged in favour of the Society for the Protection of Women and the Anti-Alcoholic Campaign, the sensational drama in three Acts entitled Bebdo which was a vivid depiction of tragedy that strikes an inveterate alcoholic and his family that depends on him for its livelihood and peacable and stable life but which is wrecked by his misdemeanour in this field. It was applauded frenetically. It had apparently been staged for the first time in 1907, much before prohibition was thought of in Bombay by Morarji Desai. Similarly his play Dotichem Kestanv dwelt on the ill-effects of the dowry system then in vogue, as today in a lesser measure, in 1908, much before the Central government imposed the ban on dowry by legislation. Vauraddi was another reformist play that upheld the dignity of labour and endeavoured to bring about social change in labour legislation. Many of his regional songs are recorded on gramophone discs. Kunnbi Jaki was published in book form in Bombay in 1949; it was a powerful play that breathed the flavour of the Goan soil and depicted reality in its theme projecting the famous actor Souza-Ferrao in the title role. Battcara, another outstanding play, was published, after being staged, in two parts, the first in 1909 and the second in 1916.
Sebastiao Gabriel de Sousa, from Arpora, Bardez, lived for many years in Karachi, now in Pakistan, later moved to Bombay, where he shone for his writings in Konkani and his brilliant participation in drama in the theatres of that city. He was called Karachiwalla by his compatriots there. His Conde de Camerino in two Acts and eighteen songs with musical score, was printed and published in 1909, after being staged for the first time in the prestigious Gaiety Theatre in Bombay. A similar play performed to critical acclaim was Cuxtoba based on the Robin-Hood-type popular Goan bandit, published in the self-same year. His plays published posthumously include : Inocente Hermione vo Dubavi Leontes (Karachi) – 1926 – and Abou Hassan published in Bombay in 1927.
Joao Lazarus de Sousa, store-keeper in the GIP Railway company in Bombay and a great actor in his own right, and proprietor of the Joel Printing Press, of Girgaum, Bombay, which printed several Konkani periodicals including Defensor do Povo in Konkani, that ran from 1924 to 1934, hailed from Ribandar-Goa, and has to his name three major plays: Godd Vik staged in Gaiety Theatre on 10th November, 1911, was divided into three parts and took three days to enact in its entirety. It was, however, published earlier in 1909 in two parts; Sandlolo Herderi Bulgaria Xaracho staged in the same theatre on 19th October,1909; and published in the same year; Valentia Birancull in 13 Acts, staged in the same theatre on 21-11-1911 and published in the self-same year.
F.X.Fernandes Douglas ( – 1912), hailing from Colva, Salcete-Goa, was an employee of the GIP Railway office, with a dedicated vocation for the theatre, for the love of which he gave up his job. He organized a group of Goan artistes that was known as the Douglas Company which earned a name for himself within a short time in Bombay. He left behind a number of comedies and songs in Konkani. Two plays of his collected under Douglas Comic Opera came out in book form in 1916; while Twelfth Night or what you will vo Dogam Bhau-Bhoinnam zoullim, a play drawing inspiration from the Shakespearean drama of that title, was enacted on the stage of the Gaiety Theatre of Bombay on 17th October,1911, and published later in book form.
Probably one of the earliest attempts at publication of the plays being staged in Konkani in the form of operettas to begin with, and later in the form of full-length plays, began with the collection of such plays known as Tiatr under the title of Concani Tiatristancho Album that was published anonymously in1917 by R.P.Noronha &Co, Bombay. But such plays were published from time to time but are now out of print.
A.V. da Cruz, as a playwright, penned a a comedy Zonvlleam Bhavancho Gondoll and some musical plays called Battkara, and adaptations from Shakespeare’s plays: Mackbet, Taming of the Shrew, and an original Gusto Camrist Letrad which remained unpublished.
B. F. Cabral (1910-38 being his peak period) or Bernardo Francisco Cabral, a versatile Konkani writer and playwright, was born in Chimbel-Goa on 7th March,1885. With an elementary education in his native parish, he was taken at the age of nine to Bombay, where he completed his high school education. At the age of 14, when he was still a student, he began contributing his writing to the few Konkani newsmagazines that circulated with difficulty in that city. His humorous vein expressed in a language full of images of a native colour, immediately caught the appreciative attention of the reading public, earning him an outstanding reputation and inculcating in the people real love for Konkani, that they had looked down upon earlier and considered as a language of the lower classes. In the opinion of his contemporaries, there was no Goan emigrant who had not attempted to read his writings that were cast in new and interesting forms.
This success led him to found in January, 1908 his own magazine Catholic Sovostcai, copies of which would be lapped up immediately on hitting the stands, read by families and especially by the wives of emigrants, not only in Bombay but also in Poona, Africa, Persian Gulf and Goa. With his transfer to Delhi, he was compelled to suspend the publication of the magazine, dedicating himself later to writing plays for the stage. He lived in Karachi where he worked for its Municipal Council. He composed his drama in Gabruchi Sasumaim, a comedy with 24 songs, running into 156 pages of text; Sat Pordheanim (1923) – 135 pages of a comedy with 23 songs (1923), Senhor Gabriel and Luvena, all published from Karachi.There were two operas: Jesus, Maria anim Juze vo Jezu Christachem Gupit Jivit, in verse, sung in various theatres in Karachi and Goa; and Adanv anim Eva vo Sorg, Sounsar anim Deuchar, in verse too, sung in various theatres in Karachi. There was still another play entitled Minglu Balcheanv ani tachi bail Picasanv published in Panjim in 1938, in some 106 pages, by Bascora Suria Rau Dessai. A Conquista de Goa vo Amchea Purvozancho Bavarth was a musical drama with as many as 43 songs enlivening it (with no date of publication on the book), on the conquest of Goa and its adoption of Christianity, which was a magnificent presentation.
Dioguinho de Melo (1908-76) worked in the Mazagon Docks, Bombay, and later cruised as a steward on board ships, travelling to Europe, Mexico and Miami in the United States of America. An outstanding artiste, he sang melodiously and composed some plays in the field of social comedy in particular which won him widespread acclaim. In Europe he sang in clubs and hotels, winning at least four prizes. In 1947 he won the best prize in a competition in Bombay and in the Indo-Portuguese Institute. When the Stars of Portugal visited Goa, he was classified as the best voice of Goa among the songsters gathered there. Many of his songs were recorded in discs of His Master’s Voice and of Twins and widely-circulated. He was the main songster and organizer of the Konkani section of the broadcaster Radio Goa, and contributed to Goa Times and Goa Mail of Bombay under the pen-name of Diodem. He left behind as many as 18 plays and comedies that were scheduled for publication but have not seen the light of day.
Taumaturgo de Sousa (1911- ), apart from his substantial contribution to the novel, mentioned elsewhere, also wrote plays like Dadlo and Niz Ghorabo and a satire entitled Kid Boxerachi Ostori on popular satirical drama actor and singer Kid Boxer.
A.J.Rocha alias Saib Rocha brought out a Konkani version of the universal love story that was Romeo and Juliet and produced it on stage. Rocha also wrote his original plays like Dubauvi Ghorkarn and Mog ani Kirm. Saib Rocha, Souza Ferrao, J.P. Souzalin and Dioginho de Melo were the last of that pioneering generation ushering in a freshly innovative adaptation to this genre that set the stage for a future efflorescence.
In the second half of the twentieth century great playwrights like Minguel Rod, Aleixinho de Candolim, C.Alvares, Kid Boxer, Anthony D’Sa came on the scene and energised this genre, their period being considered as its golden era. Aleixinho turned out around 25 tiatr plays, his Millionar, To Bavtto Dhormacho and Amchea Xetachi Pavnni being deemed to be classics in that genre. Miguel Road was a precocious phenomenon who revolutionsed the theatre form and made it into a potent instrument of social reform. He died early at the young age of only 31, having written as many plays, all having turned out to be hits, his first being Duddvancho Fors and the last called Koddu Sonvsar.
C. Alvares who revelled in exploring realistic themes in his plays, wrote over a hundred plays, the most outstanding of which were: Honrad Goenkar, Patki nhoim Ghatki, Atancheo Sunom, San Pedro, Mauxi vo Paichi Bail, Gharache Vantte,Jurament, Mhoji Vonim, Mhozo Put Padri, Chintnam zalim Sopnam,Vojem, Manvoddehem Sutt, Mhoji Vhonim, Kedna Udetolo to Dis and Sezari Kombo which were instantly popular in their days, and which the older generation still recalls with sweet nostalgia.
Dr.Simon Fernandes, as mentioned above, was active in several spheres of Goan artistic creativity in Bombay, including translation of plays, which he performed on the stage.Apart from those featured in his translations, he had written others like Judas Iscariot, Sant Sebastiaum, Poskem, Fatima Saibinn, Pontius Pilate, also staged.
Fr.Alvaro Renato Mendes, featured above, has to his credit four plays on Biblical themes entitled Nazuk Teatr in 1955, Fatimachim Disnnim (1957), a play in seven acts.
Ramakant Poulencar (1934-2006), has tiatr plays like: Murt tuvench ghoddoili, Sukhi Sonvsarachi Chavi and Savlli Vikha Rukhachi being plays published all in 1979. Bhavarthachem Tivim(1959) is also a play published by him and staged subsequently.
Reginald Fernandes (1914-1994) penned a drama in between his numerous novels, which was published in book form as Neketr Fuddarachem in 1940.
Prem Kumar (1929-2007) was the dramatic name assumed by Peter D’Costa, hailing from Chandor-Salcete-Goa, who was an outstanding playwright-actor-director of the Konkani stage. He imparted a refreshing new life to it by reforming it in its essentials. He had a fruitful stint of a career in enacting several secondary roles in Hindi films by producer-director Dhirubhai Desai. However, his intense love and dedication to Konkani theatre made him come back to it wholeheartedly and on a full-time basis. For he had made his debut there at the tender age of thirteen at P.T. Bhangwadi, Bombay, in Mhozo Put, a play that was written and directed by himself. He went on to write a total of 54 plays in his career spanning around 70 years, in the course of which he had had refined the art of stagecraft close to as much a perfection that was attainable, particularly in his crisp and meaningful dialogues. Some of his much-acclaimed plays are : Mortikar, Jivit Ek Sopon, Abdul Narain D’Souza, Fulam ani Kantte, Vauraddi, Piso ( a unique play that embodies a monologue), Maria Magdalena, Dukh, Kakut, Peleache Vostuchi Axea Korum Naie. He left an innovatively bold legacy behind in Konkani theatre.
Remmie Colaco came up with some outstanding tiatr plays like: Bhauponnacho Caido, Satvo Sacrament, Gharachem Sukh and Don Kallzam.
J.P. Souzalin authored and staged the tiatr plays such as: Poilea Cheddeacho Baltim, Sant Anton and Sant Francisco Xavier which were compositions in refinement, as well as Sad Amoricho published in 1935 in Bombay.
Robin Vaz wrote and staged the tiatr plays: Agente Monteiro, Konn tuzo put, Opinion Poll, Shantichem Login, Bebdo Put and other plays with his impactful acting.
Jacinto Vaz had his Cunhad ani Manam, Leopoldin, Cuddvalo, Podon, Govachem ghor and Ghorvali which were outstanding comedies of tiatr plays.
M.Boyer ( b.1930) began as a songster in dramatic pieces of his own and attained mass popularity in that sphere, composing his own songs for the occasion. Moving forward he took the daring step of writing and producing his own reformist plays which ran to packed houses. Some of his well-known tiatro plays are: Bikari, Bekar Empregad, Amchem Pordesponn, Atam Konn Ghatki, Bahkro Parabens, Ekuch Rosto, Sonvsar Sudorlo, Chintnam Zalim Sopnam, Ghor Dukhi – Ganv Sukhi, Bhurgim ani Bhangar.
Prabhakar Tendulkar (b.1934), mentioned above, penned Tin Tiatr tera kovita, Sat Prosn, Gulab, Rangmachi these being his books spanning drama that contain poetic musings, reflections and thoughts on the burning issues of the day.
Felicio Cardoso, featured above, has also a long story entitled Fulanchi Bag (1952) and a collection of some fine short-stories entitled Tufan..
John Claro Fernandes (b.1935) hails from Quepem, Goa, and retired as a senior officer with the Life Insurance Corporation of India. He has been a professional tiatr writer and producer-director for a number of years now, having penned and staged: Camil Bottler, Rinnkari Zanvoim, Inglez Madam and Purtugez Kolvont.
Aristides Dias was the leading light of the famous ‘Young Stars of Goa’ group and brought out several plays, in one of which ‘Divorce’ he presented a hundred shows, the first one to do so, the other outstanding ones being Doea and Doulot.
Nelson Afonso was another playwright of this capability who penned Ghorabo, Dolorosa and Ekuch Rogot.
Alfred Rose, an officer in the corporate sector, was the singing sensation in Konkani theatre, penning the reformist lyrics himself. Many people from the middle class and upper-middle class flocked to hear him in a hitherto unprecedented show of acceptance to the tiatr plays in which he performed on the stage, along with his wife Rita. He was imbued with an excellent music sense that enabled him to mix and blend alien tunes and acclimatize them to Konkani. He was the ambassador of Konkani songs to All India Radio, HMV records and on the international stage and was the first to promote audio cassettes in the language, which industry is booming today and has extended into video-cassettes of tiatr plays and films. He has a few plays written by him, that were: Lakpoti Nouro, Natalanchi Bhett, Bangaracho Hoti and Angovnnechi Vokol. Others in this genre who made an impact on the Konkani stage were: Seby Coutinho, Kamat de Assolna, Conception, Ophelia, Antonette, Sabina, Josephine, C.D.Silva, Shalini Mardolkar, Cecilia Machado, Platilda Dias to name only a few of the prominent among them.
Cyriaco Dias (b.1937) from Ambora/ Camurlim, Salcete-Goa, is the son of well-known musician/ maestro of yesteryears that was Peter John Menino Dias. He was a freedom-fighter from his youth. He wrote and staged his first social drama entitled Zigzigta titleim bangar nhoim in 1956, and acted in other playwright’s plays. There followed Kitem ho sounsar and Chepekar Cunhado in 1956.He began acting later on the professional stage with well-known names in the Konkani tiatr in many roles.
John Gomes alias Kokoy (b.1937) was born in Cuncolim, Salcete-Goa, has a number of tiatr plays to his name, viz. Atancho Sounsar, Guneanv Konnacho?, Devacho Hukum’, Grestkaiek Lobdololo, Padricho Ghutt, Mhoji Mevnni, Zalach Pahije, Honrad Goenakr, Mhozo Oprad, Benkro, Duba, Kuddem Jivit, Amchem tem Amchem, Choddfodde, Visvas, Zomzall, Godfather, Porikxea, Aicho Somaz, Funkott Charlie.
Brazinho Soares (b.1938) hails from Kalapur/ Santa Cruz-Goa, and has acted and written tiatr drama like the Passion plays: Ho To Monis and Soddvonddar Mel’llo. He published his tiatr plays like Mogacho Xevott Simiterint(1970), Konn to Khuni (1980) and contributed with articles, essays and poems, etc, to several Konkani periodicals.
Fr. Planton Faria (b.1940), featured above, had begun his debut in drama before being ordained a priest. He staged his tiatr traditional plays embodying religious-devotional themes entitled Monxakullacho Soddvonddar in 1966, followed by :Tukach lagon (1971), Kallokantlo Suria (1974), the last having been staged in Dar-es-Salam in Tanzania, where he was then working, Somazacho Dusman, Kalljivont Jeena also being two of them. On his return from Africa, he wrote and staged Bhagivont Paul, Jesu Krist, Sonvsaracho Uzvadd, Suttka, Jivitachi Zhor, Goencho Saib, kantteancho Mukutt, Niz Fuddari, Ho Tiatr ken’na somptolo? Jivit, Vatt chukoili. His Plafar Dramatic Association has been of immense help to groom youngsters and assist them in their artistic endeavours. He wrote a playlet entitled Xanticho Kunvor on Jesus Christ, published in 1982.
Jess Fernandes (b.1941) hails from Quepem-Goa, and having studied up to the 7th year of the Portuguese Lyceum, taught for some time in a primary school and then worked as a para-medical officer with the Goa government Health Services. He began his writing career in tiatr called: Eksuro and Don Dukham and went on to write the khell-tiatr such as Noxibantlim Khoddpam, Kallzacho Ghavo, Ti Noxtti Pidda, Chor Budh Xiklo, Maincho Kirmidor. He assisted in rendering some books of the Old Testament into Konkani. His other work is dealt with elsewhere in the appropriate section.
Bonaventure D’Pietro (b.1942), basically a musician and a novelist, dealt with elsewhere, authored also some tiatr plays like Dhunvor, Chitrokar and Patang.
Tomazinho Cardozo (b.1946), an MA in political science, served in the teaching profession for a long time, first as a teacher and then as Headmaster. He served his village of Candolim as its Sarpanch for a long period of twenty years. He had a stint in politics as an MLA of Calangute Constituency and Speaker of Goa Legislative Assembly for one term of five years. He has to his credit, as an amateur playwright, 23 books, the following being his tiatr plays : Punordixtt, a playlet, One-Act plays entitled Ek-Anki Nattkulim (1986) ; Inspector, Kallokh ani Uzvadd, Ostoskorn ani Kaido, Aicho Somaz and Bhurgim amchi girestkai, all in 1987. Kanttech Kantte (1980), Utram ani Kornneo (1981), and Tiatr Machier (1982). Zogzogta titleim bhangar nhoi (1988) was a full-length tiatr play. Ami Sogle Ek was published in 2006 after being staged earlier. Other published tiatrs of Tomazinho Cardozo are: Mhonvall Vik and Somaz Seva. He also published a book of 100 stage songs (kantaram) called Thembe. His wife, Irene, too has been a co-partner in his singing, composing and acting ventures. He has been president of the Dalgado Konkani Akademi. He heads the recently set-up Tiatr Akademi of Goa.
Wilmix Wilson Mazarello (b.1946), hails from Velim-Salcete-Goa. He graduated with B.Sc. from St.Xavier’s College, Mumbai, with diplomas in business management and international marketing. He was export manager for a pharmaceutical concern and travelled extensively through Africa, Russia, Germany, Afghanistan, the Middle East and SriLanka. During his 37-year career as a playwright he has written some 14 tiatr plays that he presented on the stage, like: Mogachi kanni, Konknno, Ladies’Specialist, Sounsar ani Sorg, Devachem Utor, Chor-Pulis, Visvas-Ghat, Mhapatki, composing his own lyrics for some 500 songs he sang, sometimes with his wife, Sharon, a fellow actor as well. He has three published books, two of them of tiatr, viz. Sukti-Bhorti(1993) and Durig (2000) and the third in English entitled 100 years of Konkani Tiatro (2000). He was president for a term of the Dalgado Konkani Akademi, as well as of the Konknni Tiatristanchi Sounstha, the association of tiatr drama writers.He is at present the president of the Global Goans’ Konkani Forum. He is also the president of the Romi Lipi Action Front spearheading the agitation for inclusion of that script along with the Devanagari in the Goa Official Language Act, 1987, which was denied to it with impunity.
Caetano Pereira (b.1946) hails from Merces, Goa. He was a government officer, since retired from service. He began writing tiatr plays from 1971 with Hem Tuvem Kitem Kelem, Bepot’ta, Apsuarti, Vozonn, Tukaim Tench, Ugddas, Akant, Kallokuch Kallok, Mhaka Zap Zai, Tankam Sudraunk Zai, Hem Oench Choltolem, Dista Toxem Dista, Mog Dakhonvk Zai. He had a hand also in writing and staging musical plays like Gupit Mog . Some of his other tiatr plays are: Mona Liza, Manv Sunechem Kestanv. His published plays are: Ugddas, Mhaka Jievunk Zai.
Fr.Freddy da Costa was also inter alia a noted dramatist. His tiatr plays are: Niz Mog, Doxea, Ghorabo, Khata Pita Dev Dita, Utth Goenkara and Goencho Avaz that were considered of considerable merit and won popular acclaim. His brother Fausto da Costa published a tiatr entitled Futt.
Premanand Lotlikar (b.1954), hails from Colva,Salcete-Goa, a graduate in arts, a businessman by profession, acted in Tiatr from an early age in several plays. By 1987 he had written seven of his own khell-tiatr like Loz ani Dukh, Dhovi Fott Kallem Sot, Povtr-Papi, Rup vo Rupnnem, Zindabad, Kednach Borem Zainaka, Ho mhozo Opradh. He now heads the Dalgado Konkani Akademi in Panjim-Goa.
Agnel de Borim has 8 tiatrs to his credit out of which Oxem ek lhar has been published in the book form. Fantodd his another script will be released soon
Johnny M., hailing from Quepem has written and published Xrap as a one-act play in 1987 in Roman and Devanagri scripts.
J.P.Fernandes hails from Mapusa-Bardez-Goa. He penned his first tiatr play entitled Ugddasachi Mudi and staged it in 1974. He has contributed regularly to several Konkani periodicals with articles, poems and stories.
Anil Kumar, Mike Mehta, Anthony San are stars of the present generation of tiatr writers and producers who have brought about an educated infusion into Konkani theatre.
Menino Mario Araujo (b.1955), hails from Santa-Cruz-Goa, and has written some outstanding tiatr drama-scripts which ponder critically at social and political issues that are shaking the foundations of Goan society as it gets churned by outside influences in the modern age. Some of the tiatrs published in the book form by M. M. Araujo are: Torsad, Mhaka Nokri Mell’lli, Lok Nit, Zobordosti, Soimbacho khell, Mogeancho Dongor and Bhaddeacho Kusvo.
Cezar D’Mello (b.1956), working as an asstt.cultural officer in the Goa government’s Directorate of Art and Culture, started the Cezar Dramatic Troupe in 1980, having begun his play-writing with his Konn Kirmidor in 1976, followed by many other plays. He brought out two of his plays:Kal ani Aiz and Kalljivont Nazia in book form in 1990 for the first time. He published his collection of plays entitled Kolakar in 2003, in which figure besides the title play that depicts the life of an artiste, : Obsoeg vo Obhghat, a musical play, based on the suffering undergone by patients afflicted with AIDS, Akhrek Sudorlo, a one-act play of educative value to growing children, incorporating 3 genres.
Willy Goes, featured above, has also directed two plays entitled Apa-Lipa and Bapaichem Rinn written by himself. He has also been a singer.
Michael Gracias (b.1967), mentioned above, has written tiatr plays like: Chuk, Kazulo,Vonnot, Valltti, Vadoll, Moronn, Mukti, Moipas, Zodd, Suriast, Sangharx, Suzette, Jem Devan zoddlam so far.
Besides there were few special publications of books of tiatrs. One such publication was Tiatrancho Jhelo – a collection of outstanding plays by eminent playwrights of the Tiatr that were: C.Alvares, Remmie Colaso, John Claro Fernandes, Prem Kumar and M.Boyer or Manuel Aguiar, edited by Felicio Cardoso, published by the Goa Konkani Akademi in 1996.
There were some other publications of importance which documented the history of tiatr. Fausto V Da Costa published a book “Tiatr ani Tiatrist” Vol I in 1994. It was the first attempt to document the history of tiatr and the works of numerous artistes of tiatr stage.
‘100 Years of Konkani Tiatr’ was another addition to the documentation of the history of tiatr. It was written by Wilson Mazarello and published by Directorate of Art & Culture, Government of Goa in the year 2000.
Kala Academy Goa celebrated silver jubilee of Tiatr Competitions in the financial 1999-2000. On this occasion a book ‘Silver Jubilee of Tiatr Competition’ was published. The book which gives detailed information about the yearly Tiatr competions organized by Kala Academy was edited by Tomazinho Cardozo and John Claro Fernandes.
Very recently, 3rd March 2010 to be exact, yet another book of significance hit the stands. The book ‘When the Curtains Rise’ (Understanding Goa’s vibrant Konkani theatre) is written by Andre Rafael Fernandes, Ph.D and published by Tiatr Academy of Goa.
Khell-Tiatr or rather a running walking street-play of sorts, is another form in its folkloric garb. It was started by Antonio Moraes of Majorda and Socorro of Verna, in the Salcete county. Rosario Rodrigues who was responsible to take Khell-tiatr to every nook and corner of Goa called it a Non-stop drama. Patrick Dourado, Vitorino Pereira, Ligorio Fernandes and Menino de Bandar are some of the prominent artistes of Khell-tiatr stage. They must have written and staged hundreds of khell-tiatrs but they have not ventured in publishing book of their scripts. Very few of them, who have published books of some of their scripts, are:
Rose Ferns, a popular artiste of Konkani stage, who is also known as King of centuries, has written 69 scripts so far. He has recently published his one of the most popular khell-tiatr ‘Thapott’
Prince Jacob, yet another popular artiste of Konkani stage, who also performs his duty as RJ at the Big 92.7 FM, has scripted 49 plays on numerous issues. He has published two of his scripts in the book form namely ‘Padri’ and ‘Roddonaka’.
Mario Menezes hails from Chinchinim, and works as an accountant in his professional career. He has won the sobriquet tragedy king for his tiatr plays depicting tragic situations in Goan life. So far he has written and staged 25 plays out of which ‘Uprant Roddon Kiteak Upkarta’ has been published in the book form.
John D’Silva excelled as a comedian and wrote some 29 plays so far. His ‘Bovall’ has been published in the book form.
Roseferns, Prince Jacob, Mario Menezes and John D’Silva are the products of Non-stop drama and most of their scripts are as Khell-tiatrs ot Non-stop drama. However in the recent years they have started writing and staging their plays in the tiatr format.