LUCASINHO
REBEIRO – Innovator of TIATR
A
young man called Lucasinho Ribeiro hailing from Sokolwaddo, Assagao in Bardez
Taluka can be called the innovator of the Tiatr because he along with Joao
Agostinho Fernandes and others staged the first Tiatr performance on the
occasion of Easter on 17th April, 1892. The name of the first Tiatr staged was"Italian
Bhurgo". This Tiatr was written and directed by Lucasinho Ribeiro
hence he can be called the creator of the unique form of Konkani drama called
‘Tiatr’.
Young
Lucasinho Ribeiro at the age of 27 migrated to Bombay, as most of the Goans
did, in search of a job. During that time Italian dramatic troupes were touring
important cities of India such as Bombay, Calcutta, Delhi and Madras to stage
Italian Operas. These drama which were erformed by the “Italian Opera Company”
were of high standards. When in India, they used to employ Indians mostly as
back stage artistes. Lucasinho was the lover of music and stage art. Lucasinho
Ribeiro, having love for dramatic art, tried to get employment in one of the
Italian dramatic troupes. He got a job as a back stage artiste. The troupe was
staging the opera called “Italian
Boy”.When the troupe completed its assignments and was to leave India, Lucasinho
Ribeiro bought the costumes which were used in the play. This act itself shows
Ribeiro’s intention of producing a play similar to “Italian Boy”.
Accordingly, based on the same story of “Italian
Boy” he wrote a “Teatro” in
Konkani and called it “Italian
Bhurgo”
Lucasinho thought of staging a
similar drama all by himself. He left the job at the opera company and came
back to Bombay and wrote his first Theatro “Italian Bhurgo” which was the
translation of this opera. He met Caitaninho Fernandes from Taleigao who helped
him to find the artistes. One day Caitaninho met Joao Agostino Fernandes, who
was from Borda and told him about staging of this Konkani Tiatr. Joao Agostino
got very much interested and he went personally to meet Lucasino. They added
two more Goans, one was Agustino Mascarenhas, Margao. Every evening they
started rehearsing the theatre earnestly till their performance on 17th
April, 1892 at New Alfred Theatre (Bombay).
As
there were many different scenes in this “Teatro” and as it required different
stage sets, in order not to waste time, he thought of dropping the curtain and
introduced songs and dances in front of the curtain. He felt that it was needed
to entertain the audience while the Stage Setting was being done behind the
curtain. These songs and dances did not have any relevance to the theme of the
play ‘Italian Bhurgo’. The experiment done by Lucasinho
Ribeiro clicked. About 300 people who witnessed the performance liked the new
format and congratulated Lucasinho Ribeiro and others for staging such a unique
form of entertainment. Thus a new dramatic form called Tiatr was successfully
staged. Yes the Goan Tiatr took birth in Bombay thanks to the pioneering
efforts of Lucasinho Ribeiro.
JOAO AGOSTINO FERNANDES ( PAI TIATRIST )
Due to his invaluable contribution for the development of Tiatr, lovers of tiatr simply loved him and respectfully called him ‘Pai Tiatrist’. A towering personality on the field of tiatr, he did not only write, directed, acted and produced tiatrs but he saw that his works were preserved for posterity.
Born on 14th December, 1871 in Margao, Goa, Shri. Fernandes was an important member of the group led by Lucasinho Ribeiro who wrote, directed and staged the first tiatr “Italian Bhurgo” – an adaptation of an Italian Opera entitled “Italian Boy”- on 17th April, 1892 in Bombay. The credit of staging the first Konkani tiatr definitely goes to Lucasinho Ribeiro, a son of Assagao village in Bardez, Goa. This was acknowledged by Joao Agostinho Fernandes himself when during the golden jubilee celebrations of Tiatr in 1942 - 43, he said, “Undoubtedly the credit goes to late Mr. Lucazinho Ribeiro on the Tiatr stage. I bow my head to Mr. Ribeiro, who was my guide and teacher and because of his guidance I still continue to present Tiatrs of good values to the Tiatr lovers”. Yet tiatr loving people considered Joao Agostinho Fernandes as the Father of Tiatr only because of Fernandes’s commitment and dedication to Tiatr, its song and music.
When one goes through the life journey of late Joao Agostinho Fernandes, particularly his contribution to tiatr and its song and music, one finds that he was a visionary who believed in originality and perfection. When the first tiatr “Italian Bhurgo” was staged with great success it gave an additional boost to many others to write and stage more tiatrs. But most of the scripts that emerged were adaptations of English, French or Portuguese dramas. Joao Agostinho’s first four dramas too were adaptations of European dramas. But Joao Agostinho saw that there were numerous issues prevailing in the Goan society and he thought of highlighting it through tiatrs. He scripted his first original play “Cavelchi Sundori” (Belle of Cavel) and staged it in 1895. He set the trend for writing original scripts. Subsequently he went on highlighting social issues through his plays. He scripted 27 tiatrs some of which are, “Dotichem Kestanv” – exposing the evils of dowry, “Bhatcara” – highlighting the relationship between the landlord and tenant during the Portuguese era, “Kunbi Jaki” – describing the lives of weaker sections of the society, “Vauraddi” – exposing the hidden differences between haves and haves-not, between the poor and rich, “Panzarincho Bhatcar” – exposing the evils of caste system, etc. In fact Joao Agostinho Fernandes exposed these issues through his tiatrs over hundred years back but solutions to these issues are not found even today. Same problems exist and continue to disturb our social atmosphere even today.
Joao Agostinho Fernandes was a dramatist with a difference. He was a perfectionist. Hence the performances of his tiatrs always maintained a certain standard. They say that he used to rehearse for almost two months so that the performance on the stage was flawless. As a true director he used to take care of not only the acting and singing but also of the stage setting, light effects and music too. There were no advanced light equipments the way we have them today, yet he tried his best to make his plays more meaningful and effective with the help of lights equipments available at that time. Hence the standard of his tiatrs was always appreciated by the people
He published some of most of his tiatrs in book form. He must have not made any profit in this venture but he published books of his tiatrs, as it happens in all other languages, so that tiatr was preserved for future generation. Batcara I was published in the year 1909 while Batcara II was published in 1916.
Women could not act on the stage at that time. Acting on the stage was a social taboo prevailing practically in every community at that time. Male actors used to act in female roles. Joao Agostinho wanted to showcase reality so that the performance is perfect in all aspects. For him males performing female roles were a draw back. Hence he encouraged his wife, Regina Fernandes to act on the tiatr stage. A woman stepped the tiatr stage for the first time when Regina Fernandes did the lead role in the tiatr “Bhatcara” written and directed by Joao Agostinho Fernandes at Gaiety Theatre in Bombay. in 1904. Yet another trend of breaking the social taboo was set by Joao Agostinho Fernandes. Tiatr became glamorous and attractive with the introduction of female artistes on the tiatr stage.
When his first wife died in 1908 leaving behind four children (two sons and two daughters) he remarried to Luiza Maria Colaco who borne him four more children. Luiza Maria also acted in many of his dramas.
Joao Agostinho Fernandes was a great lyricist as well as a good singer too. His songs – lyrics as well as music – were always original. His songs besides love also stressed on social issues prevailing at that time. It was a great honour to Joao Agostinho when HMV recording company requested him to record his songs. He was the first Goan Konkani singer to records his songs on HMV records in 1910. Yet another trend set by him in order to preserve Konkani ‘kantar’ for future generations.
Joao Agostinho Fernandes passed away in Bombay on 29th August 1947.
There is no one on the tiatr stage, even today, parallel to Joao Agostinho Fernandes who has the vision of developing, introducing innovations, promoting and preserving tiatr, its song and music the way Joao Agostinho did over hundred years back.
JOAO AGOSTINO FERNANDES ( PAI TIATRIST )
Due to his invaluable contribution for the development of Tiatr, lovers of tiatr simply loved him and respectfully called him ‘Pai Tiatrist’. A towering personality on the field of tiatr, he did not only write, directed, acted and produced tiatrs but he saw that his works were preserved for posterity.
Born on 14th December, 1871 in Margao, Goa, Shri. Fernandes was an important member of the group led by Lucasinho Ribeiro who wrote, directed and staged the first tiatr “Italian Bhurgo” – an adaptation of an Italian Opera entitled “Italian Boy”- on 17th April, 1892 in Bombay. The credit of staging the first Konkani tiatr definitely goes to Lucasinho Ribeiro, a son of Assagao village in Bardez, Goa. This was acknowledged by Joao Agostinho Fernandes himself when during the golden jubilee celebrations of Tiatr in 1942 - 43, he said, “Undoubtedly the credit goes to late Mr. Lucazinho Ribeiro on the Tiatr stage. I bow my head to Mr. Ribeiro, who was my guide and teacher and because of his guidance I still continue to present Tiatrs of good values to the Tiatr lovers”. Yet tiatr loving people considered Joao Agostinho Fernandes as the Father of Tiatr only because of Fernandes’s commitment and dedication to Tiatr, its song and music.
When one goes through the life journey of late Joao Agostinho Fernandes, particularly his contribution to tiatr and its song and music, one finds that he was a visionary who believed in originality and perfection. When the first tiatr “Italian Bhurgo” was staged with great success it gave an additional boost to many others to write and stage more tiatrs. But most of the scripts that emerged were adaptations of English, French or Portuguese dramas. Joao Agostinho’s first four dramas too were adaptations of European dramas. But Joao Agostinho saw that there were numerous issues prevailing in the Goan society and he thought of highlighting it through tiatrs. He scripted his first original play “Cavelchi Sundori” (Belle of Cavel) and staged it in 1895. He set the trend for writing original scripts. Subsequently he went on highlighting social issues through his plays. He scripted 27 tiatrs some of which are, “Dotichem Kestanv” – exposing the evils of dowry, “Bhatcara” – highlighting the relationship between the landlord and tenant during the Portuguese era, “Kunbi Jaki” – describing the lives of weaker sections of the society, “Vauraddi” – exposing the hidden differences between haves and haves-not, between the poor and rich, “Panzarincho Bhatcar” – exposing the evils of caste system, etc. In fact Joao Agostinho Fernandes exposed these issues through his tiatrs over hundred years back but solutions to these issues are not found even today. Same problems exist and continue to disturb our social atmosphere even today.
Joao Agostinho Fernandes was a dramatist with a difference. He was a perfectionist. Hence the performances of his tiatrs always maintained a certain standard. They say that he used to rehearse for almost two months so that the performance on the stage was flawless. As a true director he used to take care of not only the acting and singing but also of the stage setting, light effects and music too. There were no advanced light equipments the way we have them today, yet he tried his best to make his plays more meaningful and effective with the help of lights equipments available at that time. Hence the standard of his tiatrs was always appreciated by the people
He published some of most of his tiatrs in book form. He must have not made any profit in this venture but he published books of his tiatrs, as it happens in all other languages, so that tiatr was preserved for future generation. Batcara I was published in the year 1909 while Batcara II was published in 1916.
Women could not act on the stage at that time. Acting on the stage was a social taboo prevailing practically in every community at that time. Male actors used to act in female roles. Joao Agostinho wanted to showcase reality so that the performance is perfect in all aspects. For him males performing female roles were a draw back. Hence he encouraged his wife, Regina Fernandes to act on the tiatr stage. A woman stepped the tiatr stage for the first time when Regina Fernandes did the lead role in the tiatr “Bhatcara” written and directed by Joao Agostinho Fernandes at Gaiety Theatre in Bombay. in 1904. Yet another trend of breaking the social taboo was set by Joao Agostinho Fernandes. Tiatr became glamorous and attractive with the introduction of female artistes on the tiatr stage.
When his first wife died in 1908 leaving behind four children (two sons and two daughters) he remarried to Luiza Maria Colaco who borne him four more children. Luiza Maria also acted in many of his dramas.
Joao Agostinho Fernandes was a great lyricist as well as a good singer too. His songs – lyrics as well as music – were always original. His songs besides love also stressed on social issues prevailing at that time. It was a great honour to Joao Agostinho when HMV recording company requested him to record his songs. He was the first Goan Konkani singer to records his songs on HMV records in 1910. Yet another trend set by him in order to preserve Konkani ‘kantar’ for future generations.
Joao Agostinho Fernandes passed away in Bombay on 29th August 1947.
There is no one on the tiatr stage, even today, parallel to Joao Agostinho Fernandes who has the vision of developing, introducing innovations, promoting and preserving tiatr, its song and music the way Joao Agostinho did over hundred years back.
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