GarryNeuhaus77 at 06:40, 4 May 2026

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{{Short description|1911 Konkani play by Pai Tiatrist}}
{{Infobox play
| name = Batcara II
| image = Theatrical works of Pai Tiatrist.png
| caption = The play is mentioned in Volume Dusro (Second Volume) of Fernandes's works, {{circa|1940s}}
| writer = [[João Agostinho Fernandes]]
| characters = {{Plainlist|
* Casiano
* Casmiro
* Cecilia
* Maurico
* Esmeralda
* Ernesto
* Bhat
* Sundori
* Pudlick
}}
| setting = [[Goa]], and Bombay
| premiere = 23 May 1911
| place = [[Capitol Cinema (Mumbai)|Gaiety Theatre]], [[Bombay]], [[British India]]
| orig_lang = [[Konkani language|Konkani]]
| subject = [[Inter-caste marriage]]s, and acceptance of [[Western culture]] by [[Goan Hindu]]s
| genre = [[Tiatr]], [[comedy drama]]
| series = {{Plainlist|
* ''[[Bebdo (play)|Bebdo]]''
* ''[[The Belle of Cavel]]''
* ''Pandurang Kusmonncar''
}}
}}

'''''Batcara II''''' is a [[Konkani language|Konkani]] play written by the [[Goan]] playwright [[João Agostinho Fernandes]]. It serves as a sequel to his 1904 [[Batcara|play of the same name]]. The play was penned in 1905 and premiered on 23 May 1911 at the [[Capitol Cinema (Mumbai)|Gaiety Theatre]] in [[Bombay]]. It was subsequently published on 13 June 1916. Unlike the first part, this play is structured into nine [[Scene (performing arts)|scenes]] rather than [[Act (drama)|acts]]. The plot continues the story from the original play, focusing on the main characters Casiano and his son Casmiro. Through their experiences with the Goan Union, the play depicts the duo's efforts to bring [[reform]]s to the region. The work also addresses themes of [[inter-caste marriage]]s and other [[Reformism (historical)|social reforms]] undertaken by the [[Goan Hindus|Hindu community in Goa]] during this period.

==Characters==
Casiano Rodrigues is a wealthy [[Goan]] [[landlord]] from Panzarim, [[Goa]]. He has inherited and owns several [[Ancestral home|ancestral properties]] and is a member of the Goan Union in Bombay, a [[social welfare]] association.

Roza Maria Luiza Vaz is Casiano's wife. She is a housewife by profession.

Casmiro Rodrigues is the only child and heir of Casiano and Roza. He is a former banker and a member of the Goan Union. He is married to Cecilia Miranda.

Cecilia Miranda is Casmiro's wealthy wife. She is rebellious in nature and abstains from engaging in household duties by pointing to the sizable [[dowry]] she possesses.

Maurico is Esmeralda's father. He is a [[Catholic]] belonging to a [[Caste system in Goa#Other religions|higher-caste family]] and is against his daughter's [[inter-caste marriage]].

Esmeralda is a young woman who believes in [[exogamy]] and wishes to marry Ernesto.

Ernesto is Esmeralda's lover and belongs to a Catholic family of a lower caste.

Bhat is the [[Patriarchy|patriarch]] of the Bhat family. He is a [[Hindu]] man, father of Sundori, and is supportive of the [[reform]]s taking place within [[Goan Hindus|Hindu society in Goa]].

Sundori Bhat is Pudlick's wife. She is against the [[Reformism (historical)|social reforms]] taking place regarding Hindus, which is much different from her father's views.

Pudlick is the husband of Sundori. He is a young, educated Hindu who is a reformer. He is part of a cohort of young individuals challenging [[Social norm|societal norms]] by wearing shoes and [[Western clothing]], activities considered taboo among Hindus, despite facing resistance from [[Traditionalist conservatism|traditionalists]].

==Plot summary==
Casiano, the [[landlord]], has undergone a profound transformation characterized by a newfound sensitivity towards the needs of the underprivileged members of society. This change in perspective has led him to prioritize fair wages for his workers and advocate for the [[dignity of labor]]. Furthermore, he has adopted a more open-minded stance towards [[Interfaith marriage|mixed marriage]]s. Casiano is also contemplative about being held accountable for his life by a [[God in Christianity|higher authority in the future]]. In an effort to promote [[social change]], he works towards broadening the Goan Union's membership.

The play delves deeper into Casmiro's personal life, revealing his wife Cecilia Miranda's discontent with domestic duties and her sense of pride in her sizeable [[dowry]] insinuate a belief that she should not be beholden to anyone. The resulting strain in their relationship is alleviated when Casmiro implores for understanding until the completion of property paperwork that favors them. The reformers, such as Casiano and his son Casmiro, both landowners in Panzarim, are actively involved in implementing changes in their hometown of [[Goa]]. Their endeavors are depicted in the production, showcasing not just [[inter-caste marriage]]s but also emphasizing the progressive transformation occurring within [[Goan Hindus|Hindu society in the colony of Goa]]. Educated youths from the Hindu community embark on a mission to challenge long-standing customs concerning footwear and [[Western clothing]].

Despite facing pushback from conservative factions, they champion the cause of advocating for the remarriage of ''bodkis'', [[Tonsure#Hinduism|Hindu widows who traditionally shave their heads]]. The play also provide more details on intercaste marriages. Maurico demonstrates acceptance towards his daughter Esmeralda's intercultural marriage with Ernesto. In a comparable fashion, Bhat imparts guidance to his daughter Sundori regarding the incorporation of her husband Pudlick's contemporary principles and convictions. Initially resistant to societal shifts, Maurico and Sundori eventually embrace change, contrasting with families like the Bhat family who find resolution for their disagreements through the embrace of traditional [[religious ritual]]s and practices.

==History of the play==
The premiere performance took place in [[Bombay]] and was promoted as a [[musical comedy]] presented in English. The premiere featured a cast of five actresses: A. Mascarenhas, Sophia Fernandes, Luiza Maria Fernandes, Ernestina Morena, and Annie Fernandes. Sophia and Annie were the daughters of [[João Agostinho Fernandes]], while Luiza was his second wife. The production had a complex backstory. It was initially penned in 1905;<ref>{{Cite web |title=Remembering Pai Tiatrist |url=https://www.thegoan.net//remembering-pai-tiatrist/7577.html |access-date=2024-07-17 |website=The Goan EveryDay |language=en}}</ref> however, a series of obstacles hindered its production during that period. In 1908, an official declaration was issued in [[Poona]] regarding the upcoming performance of the play ''[[Bebdo (play)|Bebdo]]''. Despite initial plans, the play did not come to fruition as anticipated. It was not until 23 May 1911 that the Goan Amateurs Dramatic Club successfully presented ''Batara II'' at the [[Capitol Cinema (Mumbai)|Gaiety Theatre]] in Bombay, following a series of delays.<ref>{{Cite book |last=Fernandes |first=André Rafael |url=https://books.google.com/books?id=vKAbygAACAAJ |title=When the Curtains Rise--: Understanding Goa's Vibrant Konkani Theatre |date=2010 |publisher=Tiatr Academy of Goa |isbn=978-93-80739-01-4 |pages=49, 55, 83–85, 104 |language=en}}</ref> The favorable response from the audience was probably influenced by the fact that the play served as a continuation or follow-up to the first production. On the occasion of a performance, H. E. Visconde de Wrem, who served as the [[Consul General]] of Portugal in [[British India]], attended the play and found it entertaining, as noted by historian [[Wilson Mazarello]].<ref>{{Cite book |last=Mazarello |first=Wilson |url=https://books.google.com/books?id=K-1PAQAAIAAJ |title=100 Years of Konkani Tiatro |date=2000 |publisher=Government of Goa, Directorate of Art & Culture |pages=18 |language=en}}</ref>

==Legacy==
The plays ''Batcara II'' and its [[Batcara|predecessor]] are considered to be among the earliest known artistic works that provide representations and insights into the [[landlord]]-[[tenant farmer]]/labourer ({{langx|kok|i=yes|bhatcar-mundcar}}) relationship, an intrinsic component ingrained in the [[Culture of Goa|cultural heritage]], [[History of Goa|historical evolution]], and societal fabric of [[Goa]]. These plays are frequently referenced and used as sources to understand the dynamics of this relationship. In addition to the ''bhatcar-mundcar'' dynamic, the plays have also offered perspectives on the role of the [[Caste system in Goa|caste system]] in shaping the socio-economic relations within [[Goan]] society. Academic research has further explored the significance and influence of these dramatic works, such as the papers "Vimala Devi's Bhatcars and the Mundcars" (2021) by Dale Luis Menezes, published by [[Georgetown University]] in the United States,<ref>{{Cite journal |last=Menezes |first=Dale Luis |date=2021 |title=Vimala Devi's Bhatcars and the Mundcars: Laborers, Landlords, and Culture in Goa |url=https://ajol.ateneo.edu/kk/articles/545/7062 |journal=[[Kritika Kultura]] |language=en |issue=38 |pages=397–414 |doi=10.13185/KK2022.003821|doi-access=free }}</ref> and "Agriculture in Curtorim" (2022) by Professor Favita Rochelle Dias, published by [[Goa University]] in India.<ref>{{Cite journal |last=Dias |first=Favita Rochelle |date=2022 |title=Agriculture in Curtorim: Through the Lens of Caste |url=https://ajol.ateneo.edu/kk/articles/545/7063 |journal=[[Kritika Kultura]] |language=en |issue=38 |pages=415–434 |doi=10.13185/KK2022.003822|doi-access=free }}</ref>

==References==
{{Reflist}}

{{Authority control}}

[[Category:Tiatr]]
[[Category:1911 musicals]]
[[Category:Comedy-drama plays]]
[[Category:Musical comedy plays]]
[[Category:Plays about marriage]]
[[Category:Sequel plays]]
[[Category:Plays about religion]]

Batcara II - Revision history

GarryNeuhaus77 at 06:40, 4 May 2026