José Pascoal Fernandes (22 March 1904 – 18 July 1976), known professionally as J. P. Souzalin, was an Indian playwright, theatre director, theatrical producer, actor, and singer known for his work in Konkani films and tiatr productions.

Within Saib Rocha's company, Fernandes began to explore his talents as a playwright, penning his own tiatrs and translating English plays into Konkani.

[3] This accomplishment not only established a record within the Konkani tiatr community but also garnered attention throughout the broader theatrical landscape of Bombay and its surrounding areas.

[2] Throughout his career, Fernandes authored a repertoire of 40 tiatrs, including works such as Dream of Lisbon, Hem Assa Tem, Dadlo Vhodd Vo Ostori?

), Saibinnicheo Sat Dukhi (Seven Sorrows of Mary), Pai, Tujeach Tonddan Magon Ghetiem, Sad Aimorecho, Nimanneo Chear Vostu (The Last Four Things), Paichi Chuk vo Maichi?

), Patkanchem Dar (The Door of Sin), Dev Bapachi Dhu, Oxench Kelear Sudrot Goem, Sezarnik Ho Go Dodlacho, Rasna ani Jacob (Rasna and Jacob), Khotti Songot (Bad Company), Aum to Mapxenkar (It's me, hailing from Mapuça), Filomenanchem Sopon (Filomena's Dream), Xeutteak Polloun Justis, Deko Xett, Uska Aurot (Look Shett, his Woman), Conde de Monte Cruzo (Count of Monte Cruzo), Jesus ani Judas (Jesus and Judas), Pe.

He ensured that his productions featured the most popular actors and actresses on the Konkani stage, and he dedicated substantial time and effort to rehearsals and overall artistic direction.

The tiatr weaves together elements from biblical accounts, historical events, and fictional narratives, captivating audiences and providing them with a compelling and immersive dramatic experience, writes Goa University professor André Raphael Fernandes.

In his quest for artistic growth, Fernandes attended performances of diverse theatrical traditions, including Marathi, Gujarati, and Parsi plays.

He played a pivotal role in introducing numerous actors and actresses to the Konkani stage, contributing to the growth and enrichment of the theatrical landscape.

He received his primary education in Portuguese at a local school and exhibited a keen interest in drama from a young age, organizing plays involving children.

During his youth, he demonstrated resourcefulness by constructing makeshift stages using wooden benches and utilizing bed sheets as curtains for the performances he orchestrated.