He is the face of theatre in the contemporary world. Maharaj Krishen Raina, also known as MK Raina in the world of performing arts, is a veteran Indian theatre actor, director, filmmaker and cultural activist. After graduating from the National School of Drama in 1970 with the Best Actor award, Raina has dedicated his career to promoting traditional theatre, integrating modern themes in his plays. His work spans theatre, films and documentaries. On the occasion of World Theatre Day, he provides insights on the evolution of Indian theatre, its role in society, and the challenges faced in preserving cultural heritage.
Your work bridges the gap between traditional art and contemporary themes. How do you approach them?
You have to decode and understand what is great about your art. Through my contemporary work, I have bridged the two, and it has worked out beautifully. In fact, what is very important is this — if I do a play in a Western style, what’s the big deal? They already do it. So what? I have to have my own signature, my national signature on it. This is Indian, like Indian textiles. Why can’t theatre be like that?
As someone deeply connected to Kashmiri culture, how has your identity shaped your artistic vision?
My vision is much wider now. I got my seeds from a tradition — a literary tradition, an architectural tradition. Not a religious tradition; that doesn’t help me much. I share my experiences with others. Then, you see the similarities and dissimilarities, and you get more connected. If you keep your mind wide open to influences and see things, you become a much richer person. Otherwise, you remain a small, isolated entity.
What are some of the challenges you have faced while trying to preserve and promote culture?
Challenges are almost always opportunities. If you are politically taking a little bit of a risk, they don’t want to touch you. Another challenge is the availability of funds and facilities. And creating a language that is understood universally when you delve into themes like social and political undertones. That is very important. That is the challenge — how to cut across barriers.
You have had a long and illustrious career. So what was the turning point that made you dedicate your life to the world of performing arts?
Because I was incapable of doing anything else. I can’t become a clerk, I can’t become an engineer. (laughs) I could understand the performing arts better, so I do it.
In your opinion, how has Indian theatre evolved over the decades?
It has grown remarkably well. People around the world now recognise the presence of Indian theatre because we started working with our traditions. In fact, I’m writing another book on traditional theatre. There is tremendous interest from Western scholars, and they invite me for discussions. We even have Zoom meetings. This helps in connecting my country’s culture with the world.
With more OTT platforms coming up, what role does theatre play in modern society?
Theatre provides new ideas—democratic ideas, egalitarian ideas. It constantly breaks bonds and introduces new perspectives. It helps people negotiate with those ideas.
Looking back at your iconic works like 27 Down, what lessons stand out the most from your experiences?
The real, serious culture in India, the kind that matters internationally, has not been given due support — neither by the state, the Government of India, nor by philanthropy. They all want a culture that fits within official frameworks, what I call the ‘mall culture’. Not the real thing.
If you had to suggest three books for upcoming theatre artists, what would they be?
Theatre artists should read at least the abridged version of Natya Shastra to understand Indian theatre. The full version is too big, but Adya Rangacharya has done a wonderful abridged version. Also, they need to read a lot of our great literature. Literature is very important. An actor cannot be uneducated — they must educate themselves all the time.
What advice would you give to young theatre practitioners?
It would be silly for me to give them advice. Just have fun, be happy. But always question — why and how. Never accept anything blindly.