Finding a calling in Krishna

CHENNAI: Philosophy, history, cosmic laws and the arts — theatre artiste, former politician and filmmaker Nitish Bharadwaj traces his journey, shift in his career orientations and how life has come a full-circle — from playing the role of Krishna in 94 glorious episodes of BR Chopra’s Mahabharat (1988) to reprising the role on stage over two decades later as a way of marking his comeback. Excerpts follow. 

From being a veterinarian, theatre artiste, actor, politician to hosting radio shows and filmmaking — you have dabbled in a number of roles through your career. How does it feel to be back in the theatre circuit? 

Most people start doing what they are passionate about at a younger age and then dabble with other things. My journey has been the reverse. I explored other fields — politics, medicine, doing radio shows for BBC Radio (London) and finally came back to what I love the most — theatre and cinema. In my journey, Lord Krishna has taken me through all the walks of life that he has been through. Krishna has taught me to celebrate everything in life — in a dispassionate and non-attached way. This quality comes with a lot of maturity and understanding. There have been divine interventions in every phase of my life. I have made mistakes by reorienting my career several times but I am accountable for my mistakes. I have learned from those errors. I have found my calling in theatre and cinema. 

Your mother is an exponent of the Bhagavad Gita and you have grown up listening to narratives from the Mahabharata. How did this exposure help you understand the role of Krishna better? 

In the world of spirituality, there is no coincidence. To impersonate Krishna, one needs to have an understanding of Krishna, his life and the myriad aspects of the Gita and spirituality. I was brought up on the stories and analytical writings of Mahabharata. I heard these narratives not just from my mother but from many learned exponents. This set the stage for me. This is probably the reason why I made a mark as Krishna 30 years ago in BR Chopra’s TV show and continue to do so even now in theatre. 

When you were offered the chance in Atul Satya Koushik’s Chakravyuh to reprise the role of Krishna, did you have any inhibitions?

I’ve always believed that though Krishna and the Mahabharata are ancient, they are relevant even in today’s time. All the epics have hidden meanings. BR Chopra’s TV show was a reenactment of the epic and it didn’t bring out these hidden meanings — there was no necessity for it. But in today’s age, an epic cannot be merely reenacted; the artistic depictions need to hold a certain value and it needs to go beyond the usual. When Atul came to me with the script, I was quite clear that I wanted to do something more. He is a very good writer and I discussed how the draft can be improved by adding hidden aspects of life that have been explored in the epic — relevant ones. Who were the warriors who killed Abhimanyu? How does one embalm grief with spirituality? How do you redefine the meaning of the chakravyuh? What’s the relevance of losing a spouse in the battlefield and raising a child as a single mother in this world? We wanted to answer all this. Once two to three drafts of the script were ready, I was convinced. My aim was to play the role of Krishna while offering to the audience something they already don’t know. 

Can you recount a memorable incident from your journey?  

I have toured many cities with this play and the connection I have had with the audience has been brilliant. A very interesting incident holds a special place in my heart. A disabled man in his 50s had come to visit me on the sets of Mahabharat back in the 80s. I recall his son telling me that his father was interested in philosophy and the Gita. Thirty years later, when news of us staging Chakravyuh in Kolkata was announced, I had the chance of meeting the man again. He was 85, had developed Parkinson’s disease but was still spirited. He said that it’s the Gita that keeps him alive. It’s amazing what philosophy can do to the soul. 

After your film direction debut in 2013 with Pitruroon, have you sketched a script for another yet? 

Yes, I have. I am currently working on a Hindi period film. As writers, directors and actors, we are fortunate to be in India — a land with glorious history. I think we should make the best use of it and take it to the world. Though I was a student of science, I have always been enamoured by and passionate about Indian history. I believe that history is the foundation for the future. My story is fictitious — an adaptation of an ancient play set against an era that’s not been shown so far. In the backdrop of that era’s music, culture, architecture and so on, I also want to narrate a good story. I am marrying my orientation with research with my love for history to bring out the best.