Dr. Sandhya M. Bhandare Sequeira refers to ‘tiatre’ in her thesis entitled : The Plays of James Raney and Pundalik Naik: A Comparative Study :
Tiatre is the specific folk drama of Goa just like Tamasha in Maharashtra. It is of the people, for the people and by the people. The word ‘tiatre’ has been etymologically derived from Portuguese word ‘tiatro’, reflecting the Portuguese legacy of Goans. It is the reflecting mirror of the Goan Catholic community. The community laughs and cries through it. Goan tiatre is highly inspirational. The local artiste moulds the script in the way he desires to suit the occasion and spectator. It is more effective than the lessons given by a teacher as well as the sermons of a preacher. The tiatre is the beautiful potpourri of the green vegetation of Goa. It is supplemented by side shows and ‘Kataram’, meaning songs. These have absolutely no connection with the main theme. Every song is self sufficient with a different theme. Therefore, the tiatre requires a band of singers and musicians.
The Konkani playwright and the winner of the Sahitya Academy Award Pundalik Naik admits at an interview with Dr. Sandhya M. Bhandare Sequeira:
“I use Portuguese music too to give the flavour of real Goan spirit in my plays; for instance, the toddy tapper in Raktakhev (Bloodbath) sings ‘Kataram’ (meaning ‘songs’ in Portuguese). I also use the folkiore of the real Konkani region.”
Thus this is the acceptance of the inescapable Portuguese Legacy as well as the obvious national legacy.
Tiatre is supposed to be a family melodrama. It contains all the combats and violence of the commercial Hindi cinema. It may be based on a soap opera which contains emotional
Appeal, excitement of feelings, stirring of heart, thus leading to the flowing of tears and reaching a point of ‘Catharsis’!
The difference between ‘tiatre’ and a play in any Indian language is the difference between the romance in Roman script and the ‘kadambari’ or ‘the novel’ in Devnagri script. The tiatre quenches the cultural thirst of Goans. It contains drama, music, comedy, action etc. It might contain circus, magic, different rites of catholics, the display of strength, etc. But the main emphasis is on action and a vivid presentation of the theme.
While Dashavatari Khell, Jagor, Lalit, and Gavalankalo were very popular in Hindu temples ‘fell’ a kind of drama was presented on the occasion of Church festivals.
The Konkani theatre has still to broaden its base and bridge the gap between the indigenous folk forms and the modern ones with a desirable foreign inspiration. It has still to enter a new era of prosperity. Both on the writing and the producing side it has
Tremendous talent to offer. It has succeeded in developing decisive tastes among a wide cross-section of Konkani speaking people
By Dr. Sandhya M Bhandare Sequeira
(Shikshak Bhushan Award Winner)
HISTORY OF INDIAN DRAMA
Modern Indian Theatre
Theatre in Post-Independent India