Frederick Noronha
In the calendar of the Konkani stage, the mild winter months of the year are one of the two or three ‘seasons’ when a lot of tiatrs get staged. In Wilson Mazarello’s ‘Konkani Khell Tiatr’, published some time ago but only inadequately noticed, we are introduced to the history and the people behind one branch of Konkani theatre, and a popular one at that.
Konkani Kell Tiatr has been called the “true folk drama of Goa”. Dramatist Tomazinho Cardozo’s foreword notes that Goa has “a number” of dramatic forms. Zomnivoilo Khell (literally, The Play From The Ground) was prominent in the past, and still is. Later, the Zomnivoilo Khell morphed into (or got known as) the Khell Tiatr. It is also called the Non-Stop Drama or Show.
Goa encounters more of this during the three-day Carnival festival, though it is little discussed. Hence, this is a welcome book from the Dalgado Konknni Akademi. Cardozo describes it, saying: “During the three days of Carnival revelry, dozens of troupes move from one place to another and present their plays at a suitable place. No stage and no curtains! The khell is performed on the ground.”
Nobody knows when the first of these “folk dramas” was staged. As expected, it needs to fit a format — three khells in each Zomnivoilo Khell, each with 8-10 songs (or cantos). A canto consists of two verses and one chorus. Each khell would run 30-45 minutes. Comedy in the khell is related to the story. Instruments used are the trumpet and drum.
A Khellam Mestri teaches and stages such plays. Once the ‘Zomnivoilo Khell’ was presented on the stage, it got to be known as the Khell Tiatr. On stage, there would be two plays, divided by an interval. A play was called a ‘parti’ (part). Each part consisted of 10-12 cantos, and the story of the khell tiatr was also told through these songs. Many times, a few dialogues were used.
Rosario Rodrigues is credited by setting just one story into the entire khell tiatr, instead of two.
That much by way of background. Under 40 pages of this hardbound book (hardbound, priced at Rs. 200 only) are focussed on its background and history. Mazarello gives the context which few would be aware of today — entertainment forms like Zagor, Contradans and Khell being the three forms that emerged in the early 19th century Goa. The first two fall to the wayside.
In the first few pages, one gets a good insight into the history of this field. What happened, when and where. How did these theatre forms evolve? What makes them different from one another?
We’re told about differing tastes in Bardez and Salcete, and how the producers need to cater to these. Elsewhere in the book, one gets a hint of the skills needed to keep tiatr going–with people playing varied roles like ticket vendors, and tiatr organisers.
After its initial background, the book gives us profiles of many of the stars of this stage. Each page tells us, in brief, about the life of one actor, singer or producer of this art form.
It might seem a contradiction, but many of the recognised actors from here are indeed humble folk. Agriculturists, barely lettered folk (who could compose song), ladies’ tailors, toddy tappers… these are the people who take to the stage.
This can be seen in either of two ways. Much of ‘elite’ Goan society tends to look down on this stage form, and not miss any excuse to criticise and berate it. Never mind that it stays very popular and commercially viable. In the past, politicians in power have been dismissive too.
Even more amazing is the fact that the humble folk, the salt of the earth, find their place under the sun here, and are able to present their talent, despite their simple background and nearly unlettered backgrounds. This says much about the opportunity that some platforms in Goa offer to all, regardless of their humble roots. This in fact needs to be recognised as a good thing.
The profiles give an insight into the lives of the actors, their backgrounds… sometimes their struggles to enter and stay in the field. If you read in between the lines, there’s a fascinating story emerging.
Some of the names here are easier to recognise — in no particular order, Menin de Bandar, Roseferns (Antonio Rosario Fernandes), Christopher Leitao, Comedian Jesus, Betty Naz, Jessy Dias, Peter de Benaulim, Lawry Travasso, Premanand Lotlikar, Ben Evangelisto, Comedian Sally, Anthony San, Paul Romy, Priti Lotlikar, Sharon Mazarello, Xavier de Maina, Comedienne Joana Pereira, Anil Kumar, nonagenarian Titta Pretto (on stage some months ago), Elvis Sequeira … and, of course, Prince Jacob and John D’Silva.
This is not to say that the others are less important; but one can’t help wondering what makes a star a star. Even if only on the small stage of Goa, one which creates space for locals to shine, and who have their fan followings of their own.
Towards the end, there’s a section dealing with the artistes’ “lighter moments” on an off stage.
Falling into a dark room below the stage (with nobody coming to the rescue… except for two others who fall through the same dark hole); dealing with the odd drunk in the audience; coping with musicians who fail to perform … these and more make up these stories.
Tiatr contractors talk of their struggles; some actors recall being marooned near the border with Maharashtra in just their underpants. Others recall oversleeping near a church, and once awake, thinking that the Sunday devotees had come to attend their own funeral! Or reaching Tilamol to act in a tiatr that was to happen at Arambol!
But this is not all about fun and mirth. You get hints of the extra-tired artistes oversleeping; sometimes struggling to cover the long distances within tiny Goa, or even meeting up with accidents…
This book does a good job of telling us the ‘backstory’ of what goes into staging such shows. Priti Lotlikar (Blanche Rodrigues) narrates how she replaced an artiste who suddenly opted out. She filled in for a show later that same evening, learning the part while travelling from Colva to Morjim, late and already behind schedule. “I did the full show on prompting because the people had already gathered and the show was full,” she recalls.
Wilson Mazarello (better known by his stage-name of Wilmix) traces his roots to Velim. He has been prolific in his output—with 20 tiatrs, 1000 songs, 28 audio cassettes and CDs, and his own unique compositions. The latter include the popular Moddgonvam Prasaru (On the Margao Bus Stand), Pausacho Dis (Rainy Day), and Piknik (Picnic). He has also written several one act plays in Konkani, and has authored two earlier books. One of his earlier titles is the 410-page comprehensive book on ‘100 Years of Konkani Tiatro’. As if this was not enough, he incidentally has a degree in the Sciences, was export manager for a pharma company, and travelled many parts of the globe in that capacity. Wilson is married to the equally noted Konkani singer Sharon.
A book definitely worth it, whether you’re a tiatr fan or not. In the latter case, be prepared to learn a lot about a world which is unfortunately invisible to many.
