Dourado embarked on his journey in
Konkani theatre at the age of approximately 18, when he successfully produced his inaugural play,
Nagounnechi Girestkai. With the support of his local acquaintances, the play was staged during the chapel feast at Pedda-
Benaulim on 12 October 1957. The cast members included Xavie (Bhatagoto), Jack Mendes, Santan Fernandes, and Francis Koloi. While Dourado had completed the script for the play, he encountered challenges in composing the accompanying
cantos or songs due to his limited knowledge in
musical composition. In search of guidance, Dourado approached a fellow villager named Caetano Piedade Fernandes, who possessed a wealth of experience in
songwriting. Fernandes agreed to assist Dourado but not before imparting a lengthy lecture to him. Dourado made his debut in the realm of
tiatrs, receiving commendation from the audience for his maiden production. This initial success served as a catalyst for his subsequent endeavors in
tiatr writing. Demonstrating his creative prowess, Dourado authored an additional series of six
tiatrs, namely
Vodilunchem Utor (Elder's Word),
Zolmachem Ghor (Birth House),
Caitan Amcho Xezari (Caitan, Our Neighbour),
Lembddo Bhatkar, and
Aplam ani Chaplam. As of 2011, his prolific contributions to the genre encompassed a catalog of over 100
khell-tiatrs, including works such as
Ghatki Bhoinn (Traitor Sister),
Ostori (Woman), and
Mira. Dourado's artistic explorations extended beyond conventional norms, as evidenced by his ventures into experimental terrain on the
tiatr stage. Notably, he undertook the scripting and direction of two productions exclusively featuring female performers-namely,
Doyall Kallzacho (Kind Hearted) and
Oxem Ghoddtta. Thana-
Sancoale Junction In the earlier years of
Konkani play scripting, the storylines were often transcribed in 32-page notebooks, eventually transitioning to larger registers in subsequent times. Notably, there was no formalized script for dialogue during this period; rather, emphasis was placed solely on composing songs that narrated the unfolding narrative. Dourado received valuable tutelage on song composition from his maternal uncle, Antonio Colaco of Bansi ward, who directed
zomnivhele khells (
Goan folk plays) in
Cacora-
Sanvordem. Building upon his initial play, Dourado composed additional songs and sought a final evaluation from Francis Koloi, whose satisfaction with the composition affirmed Dourado's abilities and encouraged him to forge ahead without hesitation. In a June 2016 interview with
The Times of India, Dourado acknowledged the assistance rendered by C P Bebo in his songwriting endeavors. Dourado has gained recognition in the field of scripting folk plays and continuous dramas. His skills as a composer on the
Konkani stage, particularly in creating heartfelt songs and captivating
cantos, have earned him reputation. In addition, he has served as a
ghost composer for numerous
audio albums, composing lyrics for hundreds of songs and collaborating with various singers. Dourado's talents extend beyond music composition, as he has written numerous
tiatrs (theatrical plays) and has also worked as a
ghostwriter for well-known directors. Due to the nature of his shows being staged on a contractual basis by professional contractors, Dourado has faced financial constraints and has not been able to derive significant financial benefits. Consequently, he has relied on collaborations with producers and contractors, as he lacked the means to book halls and stage his shows in towns. Dourado himself acknowledges that organizing shows on a contractual basis does not yield substantial financial returns. Known for his
storytelling abilities, as described by Daniel F de Souza of
The Goan Everyday, Dourado emphasizes the importance of patience in writing
tiatrs. He draws inspiration from accomplished playwrights of the past, such as
M. Boyer,
Prem Kumar, and
C. Alvares, who would release their tiatrs once every two years, resulting in shows of quality in all aspects. ==Awards==