Abstract: Contemporary Indian drama has made use of innovations and experiments both in terms of themes and techniques. On the one hand, it has used history, myth, folklore and philosophies (such as existentialism and absurdism); on the other hand, it has employed shifting temporal settings, dream sequences, masks and voice-overs. It has not only assimilated the elements of Indian theatre tradition but also borrowed from the modern western dramatists such as Bertolt Brecht, Jean Paul Satre, Samuel Beckett and Harold Pinter. Thus it has emerged as an innovative phenomenon. It has also attracted considerable critical attention and as a result a good deal of work has been done on it. The critical scholarship as of now leaves, however, a lot to be desired, as there are many gaps yet to be filled. Critics and scholars have generally looked at Indian drama from conventional points of view. But Indian drama in its present shape and output calls for fresh critical analysis in the light of modern literary theory.