Theatre must ask what society doesn't, says Faraz Khan

Faraz Khan, a Mumbai-based actor and director, believes that “theatre should provoke, not pacify.” With his upcoming shows in Bengaluru, he brings together satire and social commentary, reviving his long-running play The Open Couple and presenting a new reading of Ajay Krishnan’s Butter and Mashed Banana, which explores censorship and identity. Excerpts from a conversation:
‘CENSORSHIP BEGINS IN THE ARTISTE’S MIND’
For Faraz, censorship doesn’t start with official authorities; it begins in the artiste’s mind. “We keep asking ourselves, ‘Can I say this? Should I say this?’ That’s when you realise the real censorship is internal. There’s a subtle pressure not to offend or be ‘too much’,” he says.
Ragini, the creative producer of La Compagnie Dramatique, adds that this form of self-policing is particularly insidious. “It doesn’t look like oppression—it looks like reason. But it robs us of honesty. Especially in the arts, where discomfort is often the doorway to something essential.”
‘A DIRECTOR’S JOB IS TO LISTEN TO THE PLAY’
Faraz approaches direction with a sense of attentiveness. “I always begin by asking, ‘What does this text want?’ Not what I want it to be. The politics, rhythm, pauses, and even the humour are all there in the writing. My job is to bring it out, not layer my cleverness on top of it,” he explains.
‘WE NEED TO STOP RECYCLING THE SAME PLAYS’
To Faraz, theatre should challenge, not comfort. “We keep staging the same thing. But why not bring out new voices or rediscover forgotten Indian texts? There’s a rich archive of Indian stories we haven’t explored,” he adds.
‘BENGALURU IS ALWAYS WILLING TO BE SURPRISED’
“There’s something special about Bengaluru. The audience doesn’t rush to react; they sit with a performance, even if it’s unfamiliar or challenging. Whether it’s Kannada, English, or experimental Tamil plays, this city makes room for all kinds of voices. And, the audience is open to being surprised,” says Faraz.
‘YOUNG AUDIENCES ASK DIFFICULT QUESTIONS’
Despite the dominance of short-form content, Faraz finds hope in younger audiences. “It’s not instant. It doesn’t autoplay. You have to be present,” says Ragini. “They show up, they listen, and they’re not afraid to ask tough questions after a show. That curiosity and that willingness to engage is where theatre truly grows,” he says.