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Shenoy Goembab was the founder of Konkani stage. He adapted Moliere’s  Le Medecin Malgre Lui and emerged with Mogachem Lagn in 1937. Since the language as well as costumes were fully Konkani, nobody would believe it was originally in French. He also adapted the original ‘Lover’ of Moliere to ‘Povanachem Taplem’. It depicts how an extremely wealthy man tortures his family and children because of his extreme  love for money and finally becomes a butt of everyone’s jokes. The play was written in 1926 and first produced in1930 in Wilson college in Bombay. ‘Zilba Ranno’ is an adaptation from Arabian nights. Instead of the King Harun Al Rasid , Shenoy Goembab  introduces the Kadamba king. The comedy reveals Goembab’s love for Konkani and hatred for injustice. Acharya  Ramachandra Shankar Naik established the tradition of the one-act play. Chavathicho Chandra (1935) is his independent comedy. The play not only brings out  the  characters of a variety of Goans, but also the variety of dialects in Konkani e.g. The language of Brahmins, the language of goldsmiths, the language of Christians and the Mangalorian language. There is utter confusion on the stage due to the inability to understand one another’s language but the spectator understands and enjoys the show.
 
 
Then came ‘Raibaryali Vaddik’, ‘Damu Kurado’, ‘Ek Hajar Ani Teis’, ‘Mhajo Sargar Gello Gharkar’ which  were all adaptations. Acharya Naik’s play Maharaja has been adapted from Moliere’s ‘Le Tartyarph’. It was produced in 1961. The play which became extremely successful on the Konkani stage  was ‘Tachi Karamat’ by Pundalik Dande. It shows  how the lazy family misled by its own phobia for etiquette goes to dogs and how a virtuous and determined man succeeds in bringing about  a change in them. Minute and touching characterization , accurate dialogue, fast movement and the clear picture of life philosophy gives an important place to the play in the world of drama. Pundalik Dande also wrote Nimittak Karan. These were the outcomes of the one-act play competitions in Bombay. Raghuvir Nevrekar emerged with his Kadunimb. But the dramatist who brought about  a new vitality in 1970’s is Pundalik Naik.With the arrival of Naik, the theatre went near people. Thus began a new era in the Konkani drama. A corpus of literature known as Dalit  Literature has emerged in Maharashtra. This trait of contemporary dalit drama is seen in the Goan theatre. Though there is some activity in the field of theatre in different parts of the country, it is highly inadequate  in Goan theatre. The  efforts are being made to achieve more progress in the theatrical art by the Government of Goa through Kala Academy, Konkani Akademi and some NGOs like Mustard Seed Theatre to develop theatrical arts in Goa. Though theatre in Goa is yet to develop, the panorama of Indian theatre is very rich. Various kinds of theatres from folk and traditional, to modern urban theatre co-exist influencing each other creatively and effectively.
 
By Dr. Sandhya M Bhandare Sequeira
(Shikshak Bhushan Award Winner)
www.DrSandhya.com




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