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Structure of Tiatr

Script is the story line of the Tiatr. Fifty percent of the success of a Tiatr depends   on a good story . During the first two or three decades of the existence of Tiatr, the standard of Tiatr was raised with every production of a new Tiatr. The reason lies in the fact that most of the writers and directors of that time were educated persons. What happened on Marathi or Bengali Stages, has also taken place on Konkani Stage. The history of modern theatre in Bengali as well as in Marathi shows tremendous influence of English. Drama Tiatr is not an exception. There is a lot of influence of English Drama on Tiatr too. Therefore one finds translations of numerous English plays into Konkani Tiatr.
The translations of English plays were possible due to the fact that the writers and directors of Tiatr were having good educational background. This is the reason why we would see the inventor of Tiatr Lucazinho Ribeiro translating an Italian Opera into a Tiatr "Italian Bhurgo". Mr. Ribeiro also translated Ali Baba and Carlos Magno into Konkani and staged them as Tiatrs. Another outstanding Tiatr artiste of yesteryears was Sebastiao Gabriel D'Souza who was popularly known as Karachiwala He translated Merchant of Venice, Hamlet and some other English plays into Konkani. Joao Lazarus D'Souza staged Shakespeare’s "Romeo and Juliet" as Tiatr. This shows that Konkani Tiatr has come up in the same way as Marathi, Bengali or any other modern Stage.
Joao Agostinho Fernandes who was called as the Father of Tiatr is responsible to to write original scripts. He was a farsighted person having a lot of creativity in him. His original scripts include Cavelchi Sundori, Revolta de Satari, and Bhattkara. Kunnbi Jaki, Bebdo, Dotichem Kestanv, Vavradd, etc.. One can see that  Joao Agostinho Fernandes touched the subjects like caste system, ill effects of drinking, problem of dowry system and dignity of labor much before these issues became serious problems in the society. Karachiwala wrote a Tiatr Kustoba and A.R. Rocha, produced excellent scripts in Dubhavi Ghorkarn and Mog ani Krim.
In the beginning of mid 20th century we come across numerous intelligent script writers who produced Scripts of high standard. To name a few, Alexinho de Candolim's Dhormacho Bavtto and Amchea Xetachi Pavnni, Minguel Rod's Tarvoti Irmao, Ghorchem Kestanv, Somestancho Rinnkari and Koddu Sonvsar, C. Alvares's Kednam Udetolo To Dis, Goencho Mog, Mhoji Vonim etc, M. Boyer's Ekuch Rosto, Sonvsar Sudorlo, Ghor Dukhi Ganv Sukhi etc, Prem Kumar's Dukh and Vavraddi, J.P. Sozalin's Hem Asa Tem, Nelson's Afonso's Ghorabo, Aristedes Dias's Divorce, Remy Colaso's Ghorabeachea Sukh, John Claro's Portuguese Kolvant are some of the excellent scripts which can boast of being of high standard.


Music & Song

The songs – Kantaram - sung between the Pordhes of the tiatr are equally responsible for the success of the Tiatr. Otherwise the audience passes comments like "the play was excellent but the songs were not good or the songs were interesting but not the play". Only when the play as well as the songs are good, then only the audience will say that the Tiatr was good.
The songs presented in the tiatr should also be of varied nature, i.e. Solos, Duets, Trios, Quartets and so on. They should also include comedy songs.

The production of a song includes (a) Composition of lyrics, (b) setting the music to the lyrics, and (c) singing of songs. In other language we find that there are lyricists who only compose the lyrics, there are musicians who only set the music to these lyrics, and persons having sweet voice to sing them. Rarely will you find an artiste who composes the lyrics, sets it to music and also sings. But on the Tiatr stage, it is totally different. The same artistes compose, set the music and sings too. Only the accompanying music is arranged by the musician.
The lyrics of a song should enrich our Konkani literature. Thousands of songs are composed by our singers. Today quantity has increased at the cost of quality, which is not a good sign, If one analyzes the songs composed by artistes of yester years such as Kid Boxer, Alexinho de Candolim, M. Boyer, C. Alvares, Minguel Rod, Aristides Dias to name a few, you will find satisfaction in the lyrical value of their songs. Such compositions will always remain for posterity.
The only musician who has taken the Konkani songs to the highest level is Chris Perry. His music is original and pleasing. His music blends so well with lyrics that the song really has Goan touch. The other musician who has given excellent music to Konkani songs is Frank Fernand in the Konkani Films 'Amchem Noxib' and 'Nirmonn'.


The singer is equally important for the song to be a complete success. His/her voice should be melodious and he/she must have the ability to modulate the voice as and when needed. While on stage, he/she must show expression on the face such that the songs become more meaningful to the audience. Alfred Rose is the only male singer who created a sensation in Konkani songs. Lorna is the only female singer so far who has captured the hearts of lovers of Konkani songs. Other singers who have contributed in this field are Kid Boxer, Young Menezes, C. Alvares, M. Boyer, etc and among the female singers we have Cecilia, Mohana, etc.


Comedy is essential in the Tiatr if one wishes to make it a grand success. I have not seen any tiatr so far achieving success without the elements of comedy in it. You name any successful tiatr and you find that there is enough comedy in it.  The comedy in the tiatr should be linked to the main story of the Tiatr. All the artistes whom I have named above as good script writers, have seen that the comedy sequences formed a part and parcel of the plot of the Tiatr.


Direction is one of the most important aspects of the performance of the Tiatr. The imagination of the director plays an important role in shaping the Tiatr performance. Besides being expert in acting, movements on the stage, facial expressions, and voice modulation, the Director must see that the Stage Setting is proper, Light Effects are effective, Background Music is relevant and the Make-up and Costumes are appropriate.

Although there are specialized persons to design the Stage Sets, to operate the Lights, to provide Background Music & to design Costumes, the Director is finally responsible for the overall performance of the Tiatr.
However on the Tiatr Stage all these aspects of direction are observed by very few Directors. Late Souzalino was one of the Directors who produced excellent religious Tiatrs with adequate Stage Setting, Light Effects, Costumes and Music.  Another Director who believed in presenting Tiatrs perfect in all respects was late Prem Kumar. Others like late C. Alvares, late M. Boyer, late Aristides Dias also staged excellent performances.

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