By André Rafael Fernandes
Down the many years, countless numbers of tiatrists have saved audiences enthralled for hundreds of thousands of performances in Goa, Bombay (Mumbai) and in other places. only one determine that provides you a touch of the way well known this manner of the Konkani level is: on any given weekend through the theatrical season, no less than ten indicates are held in a variety of elements of Goa. regardless of the overall apathy of professional and executive our bodies and the onslaught of cable tv and substitute kinds of leisure, the tiatr has to this point controlled to carry its flooring because the leading kind of staged leisure for Konkani audio system. yet there isn't any area for complacency. matters, difficulties and demanding situations in modern tiatr are mentioned during this publication. Khells moved from ground-level to the level. Antonio Piedade Moraes innovated the path-breaking transformation of the ground-based khells to level performances of khell-tiatr. Then got here the evolution of the continuous drama. prepare, all this has intended that the tiatr has been enthused with new existence and dynamism. With the slow decline, notwithstanding, of the tiatr creation in Bombay or Mumbai --- the long-time domestic of a giant part of the Goan diaspora --- and corresponding spurt in formation of Goan troupes, theatrical actions have visible a resurgence. Tiatrs by the way entertain not only neighborhood audiences, yet lately additionally practice for the advantage of Goan emigrants in different places in India, the center East, London and Toronto. whilst expat groups dependent in Karachi met in Goa lately (December 2009), they made a plea to ship throughout a few attention-grabbing tiatr to that a part of the subcontinent, the sometimes-tense family members among India and Pakistan although. Claiming a inhabitants of 20,000 Goans in most cases in Karachi, they stated an excellent tiatr may possibly draw audiences of upto 5 or 6 thousand robust. advancements in verbal exchange applied sciences, resembling the net, let the Goan diaspora to pay attention to modern artistes and performances. contemplating all its inherent strengths, the tiatr has an guaranteed destiny as a medium of leisure, schooling and social transformation. * * * This booklet, according to the author's Ph.D. thesis, strains the improvement of this well known Konkani drama shape referred to as the tiatr from its quite a few origins. For your time now, the final effect has been that this dramatic shape begun in 1892 in Bombay. yet, as you are going to learn within the pages that stick to, this article strains the tiatr s genesis to the normal zagors and khells, which in flip developed over a number of centuries from different old performances. while the curtains rise... digs out on hand references from the earliest Portuguese performs in Goa. It tracks advancements in tune and tune --- either Indian and Western --- and reports their necessary features within the tiatr. It takes a detailed examine diversifications within the spelling of the time period tiatr yet keeps the unique spellings to keep up ancient context, although this can seem complicated every now and then. The etymology of tiatr offers an evidence for those editions. The research issues to the varied elements similar to genres, thematic matters, stages of progress, constitution, use of language, roles of actors, roles for ladies, set designing, lighting fixtures, techniques, degree administration, exposure, censorship, boundaries and viewers participation, between different issues. during this paintings, we provide due credits and spotlight the contribution of João Agostinho Fernandes, rightly considered as Pai Tiatrist (a name bestowed on him, which can be interpreted to intend the daddy of the Tiatr ) for his pioneering position during this style of a still-vibrant Konkani level. a number of of his significant performs are analysed and their effect assessed.
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Additional resources for When the curtains rise-- : understanding Goa's vibrant Konkani theatre
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Swarup, Theory of Indian Music, Agra 1933; Lourdino Barreto, Aesthetic Indian Music as a Bridge between Christian and Indian Religious Music, MSS Rome 1967; Lucio Rodrigues, ‘The Euro-Indian Music of Goa’, Sunday 41 Navhind Times, Goa 12 March 1972; M. C. Rodrigues, ‘Folk Songs of Goa’, Goa Today, Goa: August 1977, XII, 1; L. 128, Bastora, Goa 1981; A. Mascarenhas, Folclore de Goa: Dulpodam, Lisbon 1960. G. K. Hariharan, Royal Patronage to Indian Music, Delhi 1984. See also José Pereira and Micael Martins, Song of Goa: Mandos of Yearning (New Delhi, Aryan Books International, 2000).
1 , could aptly be applied to Goans with some pun on the main words. Music, cuisine and sports are supposedly the three loves of most Goans. While such a statement may not be true in its entirety, for generations many Goans have either excelled, or had a love for, at least one of these three activities. Music has always fascinated and enriched the Goan cultural scene. The tiatr has been one of the beneficiaries as well as a major contributor to the musical scenario involving Goans in their homeland and in their exile.
Many of the poor descended from Parsi artisans and farmers who arrived in the city after the decline of Surat and the famines that afflicted Gujarat between 1780 and 1840. Lower-class groups eked out a living as domestic servants, petty clerks, mechanics, waiters and carpenters. There was even a band of poor Parsi thugs active in the Bazaar Gate area of Bombay in the 1850s. A genteel brand of poverty also characterised families whose traditional occupation had been the priesthood. g. N. N. Dhalla, with scholarships or other support, were able to work their way into the middle class.