| Pai Tiatrist | |
| Birth Name: | João Agostinho Fernandes |
| Birth Date: | 14 December 1871 |
| Birth Place: | Margão, Goa, Portuguese India, Portuguese Empire |
| Death Place: | Goculdas Tejpal Hospital, Bombay, Bombay Presidency, Dominion of India |
| Alma Mater: | St. Xavier's School, Dhobitalao |
| Co-owner of Shorabji Hormusji, and Company and Sequeira and Sons | |
| Employer: | Messrs Phillips and Company, Bombay |
| Children: | 8 |
| Years Active: | 1892–1947 |
João Agostinho Fernandes (14 December 1871 – 29 August 1947), popularly known as Pai Tiatrist, was a Goan playwright, theatre actor, and former chemist, known for his contribution to staging the first teatro Italian Bhurgo, on 17 April 1892 in Bombay at the New Alfred Theatre, along with playwright Lucasinho Ribeiro, Caitaninho Fernandes, and Agostinho Mascarenhas.[1] Referred to as the "Father of Konkani tiatr",[2] Fernandes continued the tiatr tradition when his mentor Ribeiro quit being part of the Konkani stage during the early 20th century.[3] Over a span of more than fifty years, he created 30 plays, with the majority being original works crafted by him, totaling 26, while the remaining four were adaptations from external sources.
João Agostinho Fernandes was born on 14 December 1871, in Margão, Goa. His baptism took place a week later. His mother, Maria Francisca, was a native of Macau, while his father, Conceiçao Fernandes, worked as a mariner. Initially, there was some confusion regarding his date of birth, as it was erroneously linked to his baptism on 21 December 1871. Fernandes received his primary education in the Portuguese language and initially pursued studies at the Rachol Seminary. However, he later opted to discontinue his education there and relocated to Bombay. In Bombay, he completed his matriculation at St. Xavier's School in Dhobitalao and subsequently secured employment as a chemist at Messrs Phillips and Company, where he gained experience over the course of several years.[4]
Drawing upon his accumulated expertise, Fernandes entered into a collaboration with a Parsi individual, embarking on a venture involved in the importation of pharmaceutical drugs from France. The establishment, named Shorabji Hormusji and Company, operated a drug store situated at Crawford Market, situated opposite the Jama Masjid. Fernandes's proficiency in the French language likely proved advantageous in facilitating business correspondence related to this enterprise. Unfortunately, he encountered treachery from his partner and consequently severed ties. Fernandes then sought new opportunities by joining Sequeira and Sons, another company operating in a similar field. However, the business faced a setback when the British Government of colonial India imposed a ban on the importation of drugs from France. As a result, Fernandes and his associate found themselves compelled to cease operations and close down their business.
Fernandes achieved several milestones in his career. In 1908, he made history by becoming the first individual to record songs in the Konkani language when he collaborated with His Master's Voice. During this endeavor, his daughter Sophia accompanied him in the recording sessions. Recognizing the importance of preserving his theatrical works, Fernandes took proactive measures to publish his plays. In 1909, his play Batcara I (The Landlord I) was printed, and he further made available a printed album containing sixteen songs along with their musical notations. Continuing his creative journey, Fernandes published Batcara II on 13 June 1916. Subsequently, in January 1937, a compilation of three of his plays, namely Battkara, Ven(eravel) Padr José Vaz, and Dotichem Kestaum, was released in a single volume.
Fernandes's dedication to his craft extended beyond these initial achievements. He meticulously planned the printing of several other theatrical works, categorized into distinct volumes. Among them, Volume Two encompassed Battcara Part II, Bebddo (The Drunkard), Belle of Cavel, and Pandurang Kusmonncar. Volume Three included Geraldina, Rukmibai, Ranneanchem Traisaum, and Paichi Dusri Bail. Volume Four featured Vauraddi (The Labourer), Kunbi Jaki, and Cazar Matarponnar. In Volume Five, readers could explore Mozo Khapri Chakor, Professor Leitaum, and Bomboicho Telegrafist. Fernandes also ventured into translating notable works, such as Dongui Voiz by Molière and Teg Zann Tubbokar by Alexander Dumas. Notably, Fernandes personally undertook the printing of Kunbi Jaki, one of his most acclaimed plays, which showcased the lifestyle and capabilities of indigenous communities.
On 11 September 1941, Fernandes, perhaps motivated by the loss or theft of three of his plays, took measures to secure copyright protection for one of his works. In response, John Sargent, Esquire, M.A., C.I.E., a Joint secretary to the Government of India, Department of Education, Health and Lands in New Delhi, informed Fernandes on 25 September of the absence of a formal copyright registration system in British India. However, Sargent clarified that copyright protection was granted automatically under the provisions of the Indian Copyright Act of 1914. Fernandes's play, Kunbi Jaki, has since been included in the publication Tiatrancho Jhelo by the Goa Konkani Akademi.
Fernandes's literary works in the Konkani language were significantly influenced by early studies in Portuguese. This influence had an impact on the syntax of Konkani used by him, resulting in a distinct lyrical and poetic quality in Fernandes's writing. The incorporation of a substantial number of Portuguese words into Konkani further contributed to the plays' historical charm. Fernandes demonstrated a conscientious approach to language evolution, updating the vocabulary in his works to reflect contemporary usage through revisions made over time.
Fernandes's proficiency in French enabled him to effectively employ the language in his early romantic comedies, exemplified in The Belle of Cavel. In addition to Portuguese and French, he incorporated Hindustani and Latin into his dramas whenever the narrative demanded their usage, as seen in The Belle of Cavel and Kunbi Jakki, respectively. Fernandes's mastery of English is evident in his plays, songs, and promotional material for the tiatrs. Notably, in the composition of Rukmibhai (also known as Broken Promise or The Broken Heart) in June 1926 in Margão, all stage directions were provided in English, highlighting his proficiency in the language.
Fernandes was known for his generosity, often prioritizing the well-being of others over personal financial gain in his theatrical endeavors. His son, Anthony, attested to Fernandes's commitment to ensuring adequate remuneration for the artists involved, even if he himself did not receive a portion of the earnings. Many of Fernandes's plays were dedicated to serving social or charitable causes.
On 22 November 1904, Fernandes's play Batcara was staged to mark the inauguration of the Goan Union Dramatic Club. Subsequently, on 7 December 1915, a re-enactment of the same play was organized to raise funds for the Women's War Relief Fund of the Goan Ladies Circle. Similarly, the proceeds from the performance of Bebdo at the Gaiety Theatre on 8 October 1925, were allocated towards establishing a scholarship at St. Sebastian Goan High School in Dabul.
On 21 January 1927, Fernandes presented Geraldina at Harmonia Hall, Borda, Goa, with the purpose of supporting the Lepers Home in Macazana, Salcete. Likewise, on 15 May 1932, The Belle of Cavel vo Sundor Cheddum Cavelchem was staged in Margão to benefit the Vauraddeanche Ekvottachea Fundac (Workers Unity Fund), also known as the Sociedade dos Operarios de Goa.
Fernandes presented a performance of the aforementioned play at Princess Theatre in Bhangwadi, Bombay, on 27 September 1938, with the proceeds contributing to the Instituto Luso-Indiano. On 9 April 1940, the play Vauraddi was staged at Princess Theatre, Bhangwadi, in aid of the Society of Nossa Senhora de Piedade in Dabul. Additionally, on 5 November 1940, Batcara was performed at Princess Theatre under the patronage of Sir Homi Mody, KBE, and with the support of the Instituto Luso-Indiano, to benefit the Bombay War Gifts Fund.
Following the devastating impact of a cyclone that caused widespread suffering in Goa, particularly affecting areas such as Arossim, Cansaulim, Majorda, Colva, Betalbatim, and Carmona, the Goa Flood Relief Fund Committee took action to provide aid and support to those who had been left homeless and impoverished. To achieve this objective, the committee organized a charitable event on 16 February 1941, at the St Xavier's College Hall in Bombay. The primary purpose of this event was to raise funds for the cyclone victims. To attract donations, the committee arranged a performance of the play Leopold and Carolin or Vauraddi, written by Fernandes. Handbills were distributed to promote the event, inviting both Goans and sympathizers to contribute to this philanthropic cause by purchasing tickets. Attendees would enjoy a three-hour entertainment experience at a reasonable price, and the proceeds from ticket sales would be directed towards the relief efforts. Another theatrical production, Bebdo, was organized on 2 May 1943, in Mapuça, Goa, with the aim of benefiting the Oxel church. A decade later, on 25 January 1957, A. R. Souza Ferrão, a devoted follower of Fernandes, directed a revival of Bebdo to support the Goan Social Welfare League.
Fernandes was married twice. Regina Fernandes, his first wife, is regarded to be the first woman actress in the history of Konkani theater, debuting in the play Batcara at Bombay's Gaiety Theatre in 1904. They got married on 22 August 1892 at the St. Francis Xavier Church in Dabul, Bombay. At the time of their marriage, Regina was 12 years old, while Fernandes was 20. Regina died due to an illness on 20 December 1908, after a twelve-day battle. Together, they had two sons named Michael and Manuel, and two daughters named Sophia and Annie.
Following the loss of his first wife, Fernandes married Luiza Maria Colaço (b. 1892) of Seraulim. She was 16 years old when they got married on 3 March 1909, leaving an age disparity of eighteen years between them. Together, they bore four children: Anthony (Antonelio), Rosy, Tereza, and Eugene. Luiza Maria actively participated in Fernandes's plays. Moreover, their children and granddaughters continued the tradition of actively participating in theatre.
On Friday, 29 August 1947, a fortnight after India achieved its independence, Fernandes died at Goculdas Tejpal Hospital in Bombay.
In honour of Fernandes's contributions, the Goa Konkani Akademi annually organizes the Tiatr Manuscript Writing Competition. Furthermore, the Government of Goa has chosen to commemorate Fernandes by bestowing his name upon the auditorium located at Ravindra Bhavan in Margao. Hence, the venue is now recognized as the Pai Tiatrist João Agostinho Fernandes Auditorium.
The legacy of Fernandes's work, particularly his play Pandurong Kusmonnkar, can be observed in the present-day portrayal of Hindu characters and their accents in tiatr performances. This artistic style was subsequently inherited by individuals such as Souza Ferrão. Fernandes holds the distinction of being the first to introduce Kunbi dances and songs to the stage, incorporating original rhythms. Among his compositions, the song "Sintidan paim ghal re, Jaki...." from Kunbi Jaki achieved significant popularity among the general public due to its vibrant and engaging rhythm.
| Year | Title | Location | Notes | |
|---|---|---|---|---|
| 1892 | Italian Bhurgo | New Alfred Theatre, Bombay | Professional debut | |
| 1893 | The Belle of Cavel | Bombay | Debut as writer | |
| 1897 | Revolt De Sattari or Ranneanchem Traisaum | Bombay | ||
| Cazar Matarponnar | Bombay | One-act farce; rev. 1942, 1943 | ||
| 1898, 1901 | Bebdo | Bombay | Rev. 1942, Margao | |
| 1904 | Batcara | The print version was published by L. M. Furtado and Sons in Bombay in 1909. Later revised in 1932, and reprinted as part of João Agostinho Fernandes-ache Drama, Comed ani Farsam: Battkara, Veneravel Padr José Vaz and Dotichem Kestaum, Volume I in 1937 by Ave Maria P. | ||
| 1905 | Batcara II | The print version was published by Victoria P. Works in Bombay in 1916 | ||
| 1908 | Dhotichem Kestaum | Gaiety Theatre, Bori Bunder | The print version is available in Volume I | |
| 1910 | Pandurang Kusmonncar | Rewritten in Bombay in 1941 | ||
| 1913 | Nid Naslolo Bomboicho Telegraphis | Bombay | Farce | |
| 1914 | Professor Leitao | Bombay | One-act farce | |
| 1925 | Geraldina | Bombay | ||
| 1926 | Rukmibai | Margão | ||
| 1927 | Noureamcho Bazar | Margão | One-act farce | |
| 1931 | Dhongui Voiz | Margão | Translation of Molière | |
| American Minstrels/Khapreachem Band | Created before 1909 as Hispano-American War Minstrels; rev. 1931, Margão | |||
| 1932 | Josefina or Paichi Dusri Bail | Margão | ||
| 1933 | Vauraddi | Margão | ||
| 1934 | Kunbi Jakki | Margão | ||
| 1936 | Veneravel Padre José Vaz | Margão | The print version is available in Volume I | |
| Mozo Khapri Chakor | Margão | One-act farce, rewritten in Bombay in 1939 | ||
| 1940 | Deu Naslolo Communist | Bombay | ||
| 1941 | Goan Ponch, Part I | Bombay | One-act farce | |
| Kunbi Jakki Part II | Bombay | Rev. 1945, Margao | ||
| 1942 | Hirmigild or Modian Ratcho Deuchar | Margão | Three-act play | |
| 1944 | Tandulanchem Kestaum | Margão | Rev. 1945 | |
| 1945 | Goan Ponch Part II | Margão | Two-acts farcial sketch | |
| Sociedade de Rom Tom | There are no copies of this work available, as it is believed to have been stolen. It is noted on the title page of Batcara, suggesting that it must have been written before 1909, when Batcara was published. | |||
| Teg Bondukka | Translation of The Three Musketeers, no full copy available | |||
| Mothes Tiu | Translated work, no copy available | |||
| Henry VIII | Translated work, no copy available |