FALLING STANDARDS OF TIATR:
Tomazinho Cardozo has expressed serious concern over the deteriorating levels of tiatr over the recent years. In a letter to the Kala Academy, Tomazinho called for convening a meeting of writers, directors, artistes and other interested persons
in tiatr to discuss matters that have threatened the very existence of tiatr.
Tomazinho was one of the judges in the 38th Tiatr Festival which concluded recently.
HERALD / 19-12-2002
Wednesday, February 11, 2009
Tiatr script-writing workshop held at Kala Academy
Tiatr script-writing workshop held
NT News Desk
A day-long tiatr script writing workshop organised by the Kala Academy was held on July 2 at the black box, Kala Academy Complex, Panaji.
Two tiatr scripts namely ‘Pakkam’ by Alfredo Fernandes and ‘He Chukik Bogsonnem Asa’ by Mario Menezes were discussed at length in the session-wise programme.
The speakers who deliberated and critically analyzed the aspects of these scripts included Premanand Sangodkar, Teotonio D’Costa, Jose Salvador Fernandes and Alfredo Fernandes.
Mario Menezes and Alfredo Fernandes also expressed their views after the general discussion. John Claro Fernandes, Ceasar Fernandes, Irene Cardozo, Caetano Pereira, Mathias Mascarenhas and others stimulated a healthy discussion on various aspects of script-writing. The sessions were co-ordinated by Mike Mehta and Tomazinho Cardozo.
Earlier, Dr Pandurang Phaldesai, member-secretary of Kala Academy in his welcome speech highlighted the activities undertaken by the Kala Academy for the development of tiatr and stressed that the organization of script-writing workshop was one such step in the said direction.
Mr Dattaguru Amonkar, programme executive, compered the function and also proposed the vote of thanks at the concluding of the workshop.
Meanwhile, the Kala Academy held its literary programme ‘Sahitya Prakash’ at Mandrem High School, Mandrem in collaboration with Sahitya Sangam, Mandrem.
On this occasion, Dr Pandurang Phaldesai, member-secretary of the Kala Academy, Mr Atchut Naik, Prof Gajanan Mandrekar, Prof Vithoba Bagali, Dr Govind Kale, Mr Sanjeev Zarmekar, playwright, Pandurang Gawde and Mr Vijay Tulaskar were present.
Dr Kale, programme and development officer of Kala Academy appealed to the Goan institutions to avail the benefit of the activities of Kala Academy. Mr Atchut Naik, president of Sahitya Sangam also spoke on the occasion.
The programme was compered by Mr Zarmekar, programme executive of Kala Academy. The inauguration was followed by an interview of the playwright, Pandurang Gawde by Vijay Tulaskar.
Prof Gajanan Mandrekar and Prof Vithoba Bagali narrated some selected experiences of the 192 literary programme conducted by Sahitya Sangam.
Vocalists Rajesh Purkhe and Mandar Jathar recited selected poems of Goan poets. Tabla accompaniment was given by Ajit Shetgaonkar.
(The Navhind Times/July 4, 2006)
- Forwarded by www.goa-world.com
NT News Desk
A day-long tiatr script writing workshop organised by the Kala Academy was held on July 2 at the black box, Kala Academy Complex, Panaji.
Two tiatr scripts namely ‘Pakkam’ by Alfredo Fernandes and ‘He Chukik Bogsonnem Asa’ by Mario Menezes were discussed at length in the session-wise programme.
The speakers who deliberated and critically analyzed the aspects of these scripts included Premanand Sangodkar, Teotonio D’Costa, Jose Salvador Fernandes and Alfredo Fernandes.
Mario Menezes and Alfredo Fernandes also expressed their views after the general discussion. John Claro Fernandes, Ceasar Fernandes, Irene Cardozo, Caetano Pereira, Mathias Mascarenhas and others stimulated a healthy discussion on various aspects of script-writing. The sessions were co-ordinated by Mike Mehta and Tomazinho Cardozo.
Earlier, Dr Pandurang Phaldesai, member-secretary of Kala Academy in his welcome speech highlighted the activities undertaken by the Kala Academy for the development of tiatr and stressed that the organization of script-writing workshop was one such step in the said direction.
Mr Dattaguru Amonkar, programme executive, compered the function and also proposed the vote of thanks at the concluding of the workshop.
Meanwhile, the Kala Academy held its literary programme ‘Sahitya Prakash’ at Mandrem High School, Mandrem in collaboration with Sahitya Sangam, Mandrem.
On this occasion, Dr Pandurang Phaldesai, member-secretary of the Kala Academy, Mr Atchut Naik, Prof Gajanan Mandrekar, Prof Vithoba Bagali, Dr Govind Kale, Mr Sanjeev Zarmekar, playwright, Pandurang Gawde and Mr Vijay Tulaskar were present.
Dr Kale, programme and development officer of Kala Academy appealed to the Goan institutions to avail the benefit of the activities of Kala Academy. Mr Atchut Naik, president of Sahitya Sangam also spoke on the occasion.
The programme was compered by Mr Zarmekar, programme executive of Kala Academy. The inauguration was followed by an interview of the playwright, Pandurang Gawde by Vijay Tulaskar.
Prof Gajanan Mandrekar and Prof Vithoba Bagali narrated some selected experiences of the 192 literary programme conducted by Sahitya Sangam.
Vocalists Rajesh Purkhe and Mandar Jathar recited selected poems of Goan poets. Tabla accompaniment was given by Ajit Shetgaonkar.
(The Navhind Times/July 4, 2006)
- Forwarded by www.goa-world.com
Khel Tiatr Festival at Kala Academy to be dedicated to the memory of Santiago Pereira
Khel tiatr festival from July 24 at KA
NT News Desk
Panaji: The inaugural function of Kala Academy’s 2nd Khell Tiatr festival will be held on July 24, 2007 at the Dinanath Mangeshkar Kala Mandir, Panaji. The festival is dedicated to the memory of late Shri Santiago Pereira, a renowned personality from traditional Khell Tiatr stage in Goa. The function will be followed by staging of khell tiatr ‘Uzvadd Paloilo’ by Maxcy Pereira of S S Productions, Vasco. Altogether 5 khell tiatrs will be staged in the festival.
Santigao Pereira, born on May 22, 1912 at Kottambi village of Quepem was a versatile personality in the khell tiatr field. He was a playwright, lyrics writer, director, artist and a musician of repute. After completing primary education in Portuguese, he took to learning western music in Church coir and played instruments like violin, saxophone, clarinet, trumpet and gained expertise of these instruments. Thereafter, took to their family profession as ‘Render’. He was influenced and attracted to Khell performances of renowned artist popularly known as ‘Kuddo Minguel’ and later on at the age of 17 years, presented his first Khell at the village level.
Late Santigao Pereira received rave applauses and appreciation of Khell audiences for his setting, composition of songs so much, so that he received invitations to perform at villages Kottambi, Asolda, Chandor, Curtorim, Davorrlim, Kunkolim, Koprimoddi, Macazana, Shiroda, Panchvadi and other places. He also encouraged and guided other artists to come forward on khell tiatr stage. Kala Academy has appealed the khell tiatr lovers to attend the festival and inaugural function.
Meanwhile, the Kala Academy has declared results of regional-level bhajan competitions in ladies category organized at four centres. Accordingly Shree Madanant Mahila Bhajani Mandal, Savoi-Verem, Shree Pratibha Sangeet Vidhyalay, Ponda, Shree Vanadevi Sangeet Saunstha, Kaisuv, Shree Mahapurush Mahila Bhajani Mandal, Varkhand, Shree Gajalaxmi Sangeet Vidhyalay, Ponda, Yuvati Bhajani Mandal, Adkon, Shree Dadeshwar Mahila Bhajani Mandal, Nadora, Kuldevata Mahila Bhajani Mandal, Viornora selected to perform at the state-level bhajan competition in ladies category.
The state-level competition in ladies category will be held on July 28, 2007 at Rajiv Kala Mandir, Ponda from 2.30 p.m. onwards.
(The Navhind Times/21 July 2007)
Include Tiatr, Kantaram in the IFFI cultural programme
INCLUDE TIATR, KANTARAM
The Dalgado Konkani Akademi, Orda-Candolim, has appealed to the State government to include Konkani tiatrs and Kantaram as part of the cultural programmes during the International Film Festival of India.
In a letter addressed to Chief Minister Manohar Parrikar, Tomazinho
Cardozo said that after reading the advertisement appearing in a section of
the press on Sunday he was surprised to note that although dramas in
Konkani, Marathi, Hindi and English will be staged, the Konkani tiatr does
not find place in the programme.
He said that Konkani tiatr is the most popular dramatic form of Goa. No other stage in Goa has a mass base as Konkani tiatr enjoys.
(Gomantak Times/28 November 2004)
The Dalgado Konkani Akademi, Orda-Candolim, has appealed to the State government to include Konkani tiatrs and Kantaram as part of the cultural programmes during the International Film Festival of India.
In a letter addressed to Chief Minister Manohar Parrikar, Tomazinho
Cardozo said that after reading the advertisement appearing in a section of
the press on Sunday he was surprised to note that although dramas in
Konkani, Marathi, Hindi and English will be staged, the Konkani tiatr does
not find place in the programme.
He said that Konkani tiatr is the most popular dramatic form of Goa. No other stage in Goa has a mass base as Konkani tiatr enjoys.
(Gomantak Times/28 November 2004)
Tiatr Fest held at Santa Cruz
Tiatr fest held at Santa Cruz
PANJIM(HND): The Parish Youth of Santa Cruz organized a three day Tiatr festival recently in the Santa Cruz Higher Secondary School premises.
Tiatr ‘Hanv Porot Ietelim’ directed by Succoro De Santa Cruz was staged on the inaugural day.
The second day saw a considerably good response from the crowd providing them good entertainment from ‘Sogllim Sopnam Gupit Chintanam’ by comedian Domnic.
On the final day, the Tiatr ‘Mhaka Zobab Zai’ directed by Rose Ferns drew a huge crowd.
Parish Priest of Santa Cruz Fr Saud Pereira along with Fr Kenneth Teles, Fr Camilo Dias and Fr Noel graced the occasion.
(HERALD/12-December-2008)
PANJIM(HND): The Parish Youth of Santa Cruz organized a three day Tiatr festival recently in the Santa Cruz Higher Secondary School premises.
Tiatr ‘Hanv Porot Ietelim’ directed by Succoro De Santa Cruz was staged on the inaugural day.
The second day saw a considerably good response from the crowd providing them good entertainment from ‘Sogllim Sopnam Gupit Chintanam’ by comedian Domnic.
On the final day, the Tiatr ‘Mhaka Zobab Zai’ directed by Rose Ferns drew a huge crowd.
Parish Priest of Santa Cruz Fr Saud Pereira along with Fr Kenneth Teles, Fr Camilo Dias and Fr Noel graced the occasion.
(HERALD/12-December-2008)
Photographer gives image makeover to Konkani 'tiatr'
Photographer gives image makeover to Konkani 'tiatr'
January 04, 2008 | RSS
Panaji: It is financially lucrative and vibrantly popular, but the century-old traditional Konkani drama form of 'tiatr' is still looked down upon by those who matter. Post-colonial culture in Goa has given step-motherly treatment to art forms influenced by the West. Even the minority Catholic elite here looks down on tiatr as being too plebeian for their tastes.
Now, a portrait photographer is attempting to change that image. Literally. Alex Fernandes, a photographer of Goan origin who grew up in Mumbai and worked in the Gulf, has taken it upon himself to exhibit the portraits of some of the best tiatrists (as those acting in it are called).
Fernandes, 44, is showcasing his portraits of tiatrists at a bookshop in north Goa this week. Fernandes runs a studio in Goa that specialises in portraits and is called Portrait-Atelier.net.
"I did the tiatrist bit, because I thought that is my representation of a Goan portrait," he told IANS.
"It struck me that in Goa everybody identifies with the Konkani theatre artistes. I thought it would be a nice idea to get all these together and do a series on them."
"Significantly, the tiatr also started in Bombay (now Mumbai) as a way for the expatriate Goans to keep in touch with their homeland (then still a Portuguese colony and a sea-journey away)," he notes.
"Growing up in the Dhobitalao (locality of Mumbai) was like being right in the heart of the tiatr. In two places, Rangbhavan and Bhangwaddi, Konkani dramas were regularly held. Tiatrists could often be seen at the Sonapur Church or the C. D'Souza Bakery after the mass," he said.
Teatr has a strong Portuguese influence.
"I'm not a big tiatr fan myself," Fernandes confesses. "But I saw in my work sharp similarities with those of the characters in (cartoonist) Mario Miranda's book on Goa."
US-based scholars of Indian origin, like the Sanskrit, Marathi and Hindi scholar specialising in Indian drama, Pramod Kale, have written about the Konkani stage, explaining the relevance of the tiatr in Goa's cultural and historical evolution.
While in Goa, Fernandes created three series of portraits, dealing with musicians, artists (shot for a major local art exhibition) and tiatrists.
"The musicians were a little difficult. For some reason, some seemed reluctant to cooperate. Once they got into the studio they were okay though. On the other hand the artists - perhaps because they were artists - built a different equations. In fact, tiatrists and musicians who came to the studio were not a problem. They become the collaborator very easily."
Portrait photography is a different ball game, especially when it involves non-professional subjects coming in on a walk-in basis, rather than professional models, Fernandes explains.
"The professional model is trained for it. They know their best angles and are not camera-shy. With a walk-in, it's a different story. Specially when it comes to communication skills," he says.
His first memories of photography go back to a time when as a 10-year-old he would mess around in a darkroom at the prominent Mumbai college - St Xavier's, where his father lectured.
In 1987, Fernandes headed for Kuwait, where he learnt more of the trade with top portrait companies.
In Kuwait, he kept honing his skills for the next 13 years, taking portraits. He shifted companies, faced the Gulf War, and came back home as a refugee-through Iraq and Jordan.
Later on, Fernandes shifted to Goa.
Fernandes is pro-digital photography. "There are some people who say 'film was the thing'. I think it's only fear of technology. You can still be purist as a photographer, and still use the contemporary top-of-the-line (digital) photography," he says. (IANS)
January 04, 2008 | RSS
Panaji: It is financially lucrative and vibrantly popular, but the century-old traditional Konkani drama form of 'tiatr' is still looked down upon by those who matter. Post-colonial culture in Goa has given step-motherly treatment to art forms influenced by the West. Even the minority Catholic elite here looks down on tiatr as being too plebeian for their tastes.
Now, a portrait photographer is attempting to change that image. Literally. Alex Fernandes, a photographer of Goan origin who grew up in Mumbai and worked in the Gulf, has taken it upon himself to exhibit the portraits of some of the best tiatrists (as those acting in it are called).
Fernandes, 44, is showcasing his portraits of tiatrists at a bookshop in north Goa this week. Fernandes runs a studio in Goa that specialises in portraits and is called Portrait-Atelier.net.
"I did the tiatrist bit, because I thought that is my representation of a Goan portrait," he told IANS.
"It struck me that in Goa everybody identifies with the Konkani theatre artistes. I thought it would be a nice idea to get all these together and do a series on them."
"Significantly, the tiatr also started in Bombay (now Mumbai) as a way for the expatriate Goans to keep in touch with their homeland (then still a Portuguese colony and a sea-journey away)," he notes.
"Growing up in the Dhobitalao (locality of Mumbai) was like being right in the heart of the tiatr. In two places, Rangbhavan and Bhangwaddi, Konkani dramas were regularly held. Tiatrists could often be seen at the Sonapur Church or the C. D'Souza Bakery after the mass," he said.
Teatr has a strong Portuguese influence.
"I'm not a big tiatr fan myself," Fernandes confesses. "But I saw in my work sharp similarities with those of the characters in (cartoonist) Mario Miranda's book on Goa."
US-based scholars of Indian origin, like the Sanskrit, Marathi and Hindi scholar specialising in Indian drama, Pramod Kale, have written about the Konkani stage, explaining the relevance of the tiatr in Goa's cultural and historical evolution.
While in Goa, Fernandes created three series of portraits, dealing with musicians, artists (shot for a major local art exhibition) and tiatrists.
"The musicians were a little difficult. For some reason, some seemed reluctant to cooperate. Once they got into the studio they were okay though. On the other hand the artists - perhaps because they were artists - built a different equations. In fact, tiatrists and musicians who came to the studio were not a problem. They become the collaborator very easily."
Portrait photography is a different ball game, especially when it involves non-professional subjects coming in on a walk-in basis, rather than professional models, Fernandes explains.
"The professional model is trained for it. They know their best angles and are not camera-shy. With a walk-in, it's a different story. Specially when it comes to communication skills," he says.
His first memories of photography go back to a time when as a 10-year-old he would mess around in a darkroom at the prominent Mumbai college - St Xavier's, where his father lectured.
In 1987, Fernandes headed for Kuwait, where he learnt more of the trade with top portrait companies.
In Kuwait, he kept honing his skills for the next 13 years, taking portraits. He shifted companies, faced the Gulf War, and came back home as a refugee-through Iraq and Jordan.
Later on, Fernandes shifted to Goa.
Fernandes is pro-digital photography. "There are some people who say 'film was the thing'. I think it's only fear of technology. You can still be purist as a photographer, and still use the contemporary top-of-the-line (digital) photography," he says. (IANS)
Pride and Joy - Tiatr Competition at Kala Academy
Pride and Joy
by Marc De Souza
THE recent tiatr competition held at the Kala Academy brought back nostalgic memories of my salad-days, when village tiatrs, particularly for a chapel feast was a ‘must’, holding the whole village and even surrounding villages in suspense. The occasion was a source of pride and joy. Those were the days of His Master’s Voice gramophone reigning supreme - before tough technology came out swinging. Now you simply turn on your computer and turn on a world of possibilities!
As a boarder in St Stanislaus, big boys from the village would come to Bandra with scripts of concerts and I was usually given a female role. May holidays would start and back to the roots, nightly rehearsals were held; counting those days among the happiest in my life. Then on the big day, in conjunction with the feast, football game, boy’s cross litany, the tiatr would start at around 9 p.m.
The stage set outdoor at a convenient place, with bamboo and wooden planks, secured with ropes. Palm fonds and other greenery, crape paper used for decoration. The curtains made out of coloured bedsheets, and two petromax lamps to light the stage. Benches and chairs were from the neighbours around.You had to have a loud voice. Villagers do have a loud and clear voice. Prompting was done, at times louder than the voice of the actor. It was all fun. Everybody would participate in some way, that gave added colour and sparkle. Elders were given front seats and you could see them dozing to glory.
Usually, a beggar would sing a song, with laughter and tears and ask for alms. The people gave generously, filling his kotti and his worn-out straw hat. It would suffice to pay for the band, banjo, violin, drums. There were no other expenses involved. It was a free show. The villagers would talk and talk about it for days, abuzz with stories. It was the time when Goa was seen through its village activities, that provided the community with a focus for living.The last tiatr I acted in and when I was in my mid-teens. I did a crackling solo ‘Mogan Boulinao’. I was bit jittery, sort of having a stage fright. I started the song alright but mid-way I messed it up. To me it was a disaster, but the audience clapped and clapped, for a little boy, and the hillside echoed! Later I came for a duet, dressed as a girl, even with a ruffled petticoat.
At a romantic moment the guy came to embrace me, I was embarrassed and laughed. He laughed too and the whole village laughed. In those glorious days people knew to laugh, now one has to go to the laughter session to laugh!
(The Navhind Times/12-02-2005)
by Marc De Souza
THE recent tiatr competition held at the Kala Academy brought back nostalgic memories of my salad-days, when village tiatrs, particularly for a chapel feast was a ‘must’, holding the whole village and even surrounding villages in suspense. The occasion was a source of pride and joy. Those were the days of His Master’s Voice gramophone reigning supreme - before tough technology came out swinging. Now you simply turn on your computer and turn on a world of possibilities!
As a boarder in St Stanislaus, big boys from the village would come to Bandra with scripts of concerts and I was usually given a female role. May holidays would start and back to the roots, nightly rehearsals were held; counting those days among the happiest in my life. Then on the big day, in conjunction with the feast, football game, boy’s cross litany, the tiatr would start at around 9 p.m.
The stage set outdoor at a convenient place, with bamboo and wooden planks, secured with ropes. Palm fonds and other greenery, crape paper used for decoration. The curtains made out of coloured bedsheets, and two petromax lamps to light the stage. Benches and chairs were from the neighbours around.You had to have a loud voice. Villagers do have a loud and clear voice. Prompting was done, at times louder than the voice of the actor. It was all fun. Everybody would participate in some way, that gave added colour and sparkle. Elders were given front seats and you could see them dozing to glory.
Usually, a beggar would sing a song, with laughter and tears and ask for alms. The people gave generously, filling his kotti and his worn-out straw hat. It would suffice to pay for the band, banjo, violin, drums. There were no other expenses involved. It was a free show. The villagers would talk and talk about it for days, abuzz with stories. It was the time when Goa was seen through its village activities, that provided the community with a focus for living.The last tiatr I acted in and when I was in my mid-teens. I did a crackling solo ‘Mogan Boulinao’. I was bit jittery, sort of having a stage fright. I started the song alright but mid-way I messed it up. To me it was a disaster, but the audience clapped and clapped, for a little boy, and the hillside echoed! Later I came for a duet, dressed as a girl, even with a ruffled petticoat.
At a romantic moment the guy came to embrace me, I was embarrassed and laughed. He laughed too and the whole village laughed. In those glorious days people knew to laugh, now one has to go to the laughter session to laugh!
(The Navhind Times/12-02-2005)
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