By Gasper Crasto...24.08.2017
Goan dramas or more popularly TIATRS have emerged into a magnificent compendium of ideas and avenues over the years.
Ofcourse, tiatrs are always evolving to become ever more inclusive and ever more rich. One thing is certain though, the millennia old tiatr-culture has kept an identity that has remained intact to this day – an appropriate TITLE or 'NAME' for the dramas.
While some directors try out new techniques to embrace audience, many make headlines for their eye-catching TITLES.
In the past, tiatrs like ‘Purtugez Kolvont’, ‘Indiechi Maim,’ ‘Atankvadi Goeant Naka’ and the likes have drawn more attention and interest for their titles than perhaps the content, message and merit they held.
While some directors have entered records books for Tiatr Titles starting with the same alphabet (Prince Jacob), most number of TITLES having a double alphabet in it (John D'Silva), and TITLES having double meaning (Menino de Bandar), etc; some directors seem to have run out of ideas to find titles in Konkani, turning to English or Hindi Titles.
TITLES OF LATEST DRAMAS
Latest Goan tiatrs are sure to make even James Bond movie titles and Fredrick Forsyth bestsellers sound ordinary.
But the more you watch dramas nowadays, you get a feeling that TITLES are merely a trick to attract public curio.
The ‘title’ is somehow made to link to the script in the last ‘pordho’ even though it may be miles away from matching the real plot of the story whatsoever. And some TITLES are so utterly incomplete...
No wonder some directors are known to announce their titles even before they have written the story, and probably find it hard to tie it up to the script.
Anyways, call it style or marketing strategy, latest directors have found a quirky way to name their tiatrs. Perhaps the directors have understood that a little bit of suspense is required to grab attention?
Here’s a quick summary of some popular dramas staged during the 2017 monsoon season, and the meaning of their titles:
PAVSA PAVSA YO RE YO – BY ROSEFERNS
The drama has one of the best scripts among Roseferns’ peers this season -- boosted by some appealing act by Rosario de Benaulim, an artiste more known to the audience as a singer than actor.
Rosario’s punch line of, ‘Cyrus Okdalin mhojem nanv, Diogin baddkaracho ekloch put hanv, Rapchik!’ and his dialogue delivery style is reminiscent of legendary Bab Peter at his best (even though Rosario sounds highly repetitive with the phrase at times).
Except for the regular, Goanized ending of ‘and they lived happily ever after’, the drama is exceptionally well balanced in emotion, suspense, kantaram and comedy.
Personally, I feel, the drama is a classic if it had a ‘negative’ ending though. But then, the King of Centuries writes dramas for masses; not for one individual soul like me in mind.
Whatever, Roseferns' ‘trademark’ ending of his dramas looks to be patently non-ending for another century atleast. It’s like the English saying, ‘it ain't over till the fat lady sings.’ Although the title PAVSA PAVSA YO RE YO has little significance to any ‘turning point’ in the story, there is Roseferns standing front stage at the end - explaining it’s meaning.
The most suitable (English) title for the drama would have been a suspense ‘LOVE, RAINS & ROSEFERNS, RAPCHIK!!!’
I have watched many dramas by the thespian director. Among his titles, XEZARI was perhaps among the most appropriately titled drama Roseferns ever produced. Atleast that is what I remember.
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AAO JAO GOA TUMHARA – BY PRINCE JACOB
People may have a short memory, but the drama is a wholesome remake in style, sets and characters (and even the subject to an extent) of Jacob’s own drama ‘Zaiat Zage’ produced in 2009.
The absence of Jacob’s sidekick brother Comedian Humbert after years of pairing with the Prince is one conspicuous fact noted in the drama.
Humbert’s super-sub, famed John D’Silva, although crystal with the dialogues gets carried away far too much.
John seems to be still having a hangover of Home Sweet Home (a film that is probably screened more number of times than any other Goan film). His style of dialogues and even a few catch-phrases are a carbon copy from the movie. Either John Silva is still engrossed watching the film or is trying to promote it further.
In a set that shows the whole neighborhood on stage, Prince Jacob shoulders much of the script himself. All artistes are kept on toes throughout with multiple character entries and exits.
Added to the title, a unique entry of the troupe, before start of the show' is something unsurpassed on Konkani stage before.
For songs after each pordho, ‘kantorists’ may not be superstars and ‘kantaram’ may not be superhits, but the audience is kept entertained nevertheless.
Jose Fernandes and Dola bring glamor to the stage by their presence and pleasant voices in singing; Jose’s first song – the tune and lyrics, is perhaps one of the best in dramas this season.
The script is based on immigrant influx and domination in Goa, but none of the dialogues in the drama (unlike other directors) are directed at Ministers or MLAs which is nice to note of the seasoned and respected director.
The title is a sort of a sarcastic taunt to inbound immigrants; it fits the production sweet as a glove.
Even then, given the topic and many ‘swachh bharat abhiyan’ scenes and dialogues in the drama, the title would sound even more stimulating if it was: WELCOME TO GOA, MAKE IN INDIA.
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SAVDHAAN GOA – BY FRANCIS DE TUEM
The drama is a political dog and pony show based on some of Goa’s recent government affairs.
One needs to be ‘politically’ refined or following ‘Herald’ newspaper to really understand the civic involved.
The script is dialogued with hammer and tongs between a ‘tailor-fed advocate' armed with best dialogues the director could think of, against politicians who are apparently depicted as ‘bad guys’ – the arguments centred in a trial court – the lawyer hauling her culprits over the coals.
Although the characters fight it out among themselves, the catch-home message is dramatically ‘cast’ upon the audience – to be Savdhan. Not bad for a new generation drama..!!!
While most contemporary dramas are known for a ‘take home’ message which is usually ‘picked’ by the audience in the sense they understand, in Savdhaan Goa’s departing phrase -- Francis Tuem ensures the audience gets a nail hit on the head – whether the audience likes it or not.
Of course, it is not a surprise given the title and fire-brand image of the superstar singer, who is on record as going a step too deep every act with excessive criticism and devastating defamation (instead of trying to advise ways in improving the government)..!
I doubt if the title really validates any connection to the script? I may be certainly wrong, but a sparse applause at the final curtain possibly evaluates the show.
The most suitable title for the show would be: ‘GOAN POLITICS ACCORDING TO HERALD’.
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DEV KONN? Hindu, Christanv or Musolman? – BY MARIO MENEZES
Another politically inspired drama. The drama apparently involves Hindus, Muslims and Christians demonstrating how some people try to gain political mileage using religion or God for their personal benefit.
I did not find it necessary to watch this drama given its ‘sacrilegious’ title, I personally did not want the director to influence or misguide my faith. People who are sensible will know their God all too well.
Whatever the script, I guess, if Mario had titled the drama, “GOVERNMENT KONN? Hindu, Christanv or Musolman?, it would sound much respectable.
DEV KONN? Huh..
“Saiba, tankam bhogos, for they do not know what to title..!” I heard someone say.
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ICU BED NO. 2 - BY IRINEU GONSALVES
Tomazinho Cardozo was perhaps the first director in the living era who unsuccessfully (commercial-wise) tried to revolutionize konkani stage into a compelling instrument of social reform.
Irineu Gonsalves, a former footballer, national scramble-champion, businessman and a smart freelance writer, has turned out into a notable playwright and a household name for tiatr fans.
Irineu has created a niche among Goan directors by being ‘Revolution-ary’ and unique (atleast with his initial 2 or 3 productions).
While one of the ‘pordho’ of London Eye (the Giant Ferris Wheel) portraying UK was ‘Irineu-ously’ hung upside down before being corrected next scene (for the show I attended), the fascinating ICU ‘pordho’ gave great value for audience money – a nicely thought out, groundbreaking ‘pordho’ indeed.
But, did I hear the opening chorus calling out audience not to miss the end?
Holy smoke!
End of the drama, am sure the audience cared little if the title of the drama was I.C.U, G.W (General Ward), Bed No. 2, 3, 4 or 40.
Why Irineu Gonsalves was particular in naming the drama Bed No. 2 (unless he has plans of sequel No. 3), all in the backdrop of a London-New York-Tokyo type love story, and a comedy which amused no congregation, beats me.
The comedians almost made the audience sleep in ‘bed’, or even go into ‘coma’, thanks to their age-old comedy that ignited little or no laughter. It was a torture to watch the jokers; they let down the director miserably.
Also, people whose expectations were high to see a ‘politically motivated’ tiatr with likely references to GMC or other such bungle hospitals, must be bitterly disappointed to see an ordinary love-story in ICU BED No. 2.
Irineu’s address to audience midway explaining a need for hi-tech ICUs in hospitals with latest equipment and technology certainly holds no justification in naming the TITLE.
...Or perhaps I have understood the drama less intelligently than it was written.
The perfect title for the drama would be LOVE FROM ‘MANCHESTER -- UNITED’ IN GOA ICU
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EKA MEKA PASOT – BY COMEDIAN AGOSTINHO
It is a befitting title from beginning to end. Even a ‘deaf leopard’ will understand it’s meaning without even going for the drama.
Comedian Agostinho and Janet excel in the show with their ever fantastic comedy.
“But these kinda titles are outdated, isn’t it?” I said to one of my friends, a passionate tiatr fan.
“Yes, that is one reason some directors simply give ‘striking’ titles nowadays,” he said.
“Why do you say that?” I asked.
“Have you seen Peter-Roshan’s Hero and Milagres Chandor’s ‘Go to Hell?’” he inquired.
“No ..” I replied.
“Don’t watch!!” he exclaimed.
“Why?” I was inquisitive.
“I give zero rating for their titles.”
“And what’s your rating for those dramas in general?”
“Well, I haven’t watched; nonetheless I can rate them based on their titles alone.. !!!”
If Agostinho wanted to grab more attention to his drama, he could have probably had a more colorful title such as: MADE FOR EACH OTHER
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GOEM, GOENKAR AND GOENKARPONN – BY MARIANO FERNANDES
Must be surely a political drama given the title of the disgraceful slogan coined by Goa Forward Party. Or whatever it is, the title is surely a gambit by the director to hook audience.
Goans across the globe know all too well deceptions behind the slogan; it won’t be difficult to know the directors' brain and shortfalls in explaining the term (which no Goan has been able to explain so far), but people might still want to attend the show out of interest and for entertainment.
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MAIM PAI tim MAIM PAI - BY DOMNIC FERNANDES (KUWAIT)
Domnic Fernandes created history by being the only overseas Goan director to stage a Silver Jubilee of his drama entitled MAIM PAI tim MAIM PAI, a title which Prem Kumar and M. Boyer would be proud of.
Unquestionably, a fitting title but no novelty about the story though.
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POLICE OFFICER - BY SAMMY TAVARES
After a stunning success of Comedian Agostinho’s double-century drama ‘Police’ few seasons back, not many expected another drama with a similar name.
Sammy Tavares has a cream of top artistes in the show, and has emerged as one of the prominent showmen of Goan stage in recent times.
Hats off to the director..!! It is awesome for audience to see some of their favorite superstars in one show, how the director manages to feed such an army of celebrities will make another 'title'.
The fact that Police Officer is written by a DySP of Police and the fact it contains mega stars and the director has toured UK and the Gulf and the TITLE is highly arresting, may not necessarily be an ingredient for the drama to hit the charts.
It should be well noted that Goan audience who are drawn to theatres by the lure of many such factors do not really judge dramas by its cast, comedy, songs, promos or the TITLE..!
The word of mouth, human-network especially facebook and whatsApp is much reliable and faster these days than misleading reviews.
WHAT MAKES A DRAMA – TITLE OR STORY?
Legendary Aleixinho de Candolim’s dramas are still talked about although some of us are not fortunate enough to see his appropriately titled superhits such as 'Millionar', 'To Bavtto Dhormacho' and 'Amchea Xetachi Pavnni' which were deemed to be classics of his genre.
Remmie Colaco, I heard was also an outstanding tiatr ‘titlist’ with plays like: 'Bhavponnacho Kaido', 'Satvo Sacrament', 'Gharachem Sukh', etc.
Padmashree M. Boyer, an 'avant-garde' tiatrist is remembered for his super tiatrs and titles such as 'Bekar Empregad', 'Ekuch Rosto', 'Sonvsar Sudorlo', 'Chintnam Zalim Sopnam', 'Bhurgim ani Bhangar', etc.
Present-day tiatr has grown by leaps and bounds and draws incredible audience.
Year 2017 saw some new directors with productions such as ‘Kodssor Hangasorlo Soitana’ - a maiden tiatr by Victor D’Cunha; ‘Argam Tuka Somia’ by Constantino Crasto; ‘Tankam Suttka Diat’ by Elvis-Carmen; ‘Jivitacho Arso’ by Head Constable Francis de Dicarpale; Sopon by Pascoal de Chicalim, etc.
There are still some more incredible playwrights out there with wonderful stories to tell.
Today, entertainment has a wide range of canvas, however, given the scripts of some dramas, one feels that Konkani stage is still taking baby steps. Other communities have advanced particularly in the script-area and in other aspects in general.
It is high time Konkani Bhasha Mandal revives their one-act play competition, or the Tiatr Academy of Goa does something to initiate an improvement.
It does not matter if the stories are written by bishops or beggars, DySPs or constables, doctors, artists or scientists. For ages, the ultimate element that has made dramas superhits, has not been essentially the ‘scene-scenery’, comedy or political trios, but wisdomic and INIMITABLE stories presented with the most relevant TITLES to match them.
MY TOP ‘TITLED’ DRAMAS OF ALL TIME...
I have watched dramas here and there right from a young age. Names of tiatrs such as 'Tuttlele Dhage' by Roseferns, 'Ekach Disacho Raza' of Rosario Rodrigues, 'Arxeant Anslo Arxeant Roddlo (Salu Faleiro-Kuwait), etc, have left me impressed.
However, the best befitting TITLES that have remained truly impressing and the stories memorable include:
GHOR DUKHI GANV SUKHI - by M. Boyer
GHATKI BHOINN - by Patrick Dourado
KANTTECH KANTTE - by Tomazinho Cardozo
VISVASGHAT - by A.M. Pacheco
NIZ MOG - Fr. Freddy J. Da Costa (only heard on audio cassette)
XEZARI – by Roseferns
FULAM ANIK KOLLE - by Rosario Rodrigues
GHOR BANDLEM GHORABO MODDLO – by Rosary Ferns
DEVAN DILEM DEVCHARAN VELEM – by Jose Rod
There must be a lot many super impressive TITLES, it would be great to know the names that have jogged someone’s memory over the years...
Mog asum!!!