Malayalam Theatre has its beginning under the tutelage of Tamil. Ochira Velukutty, Akbara Sankara Pillai, Sebastian Kunjukunju, Augustine Joseph, Vaikom Mani and Vaikom Vasudevan Nair were among the early actors who earned fame.

Among the early playwrights were C.V.Raman Pillai ('Kuruppilla Kalari', 'Papi Chellunidam Pathalam'), E.V.Krishna Pillai ('Kanyaka', 'Bhagna Bhavanam'), 'Kainikkara Padmanabha Pillai ('Manimangalam', 'Mathruka Manushyan'), Kainikkara Kumara Pillai ('Kalvariyile Kalpapadapam'), G.Shankara Pillai ('Poojamuri', 'Bandi'), G.J.Thomas ('Aa Manushyam Nee Thanne', 'Avan Veendum Varunnu'), C.N.Sreekantan Nair ('Thoovalum Thoom \payum'), Cherukadu ('Tharavadithvam') and P.J.Antony ('Pothu Sathrukkal'). Among the later dramatists are T.N.Gopinathan Nair ('Pareeksha', 'Janadrohi'), Thoppil Bhasi ('Ashwamedham', 'Sarasaiyya', 'Thulabharam'), Kavalam Narayan Panicker ('Deivathaar', 'Avanavan Kadamba'), Ponkunnam Varkey ('Vazhi Thurannu', 'Visarikku Kattuvenda'), K.T.Mohammed ('Ithu Bhoomiyanu', 'Karavu Pasu'), S.L.Puram Sadanandan ('Oral Koodi Kallanii', 'Agniputra', 'Kaattu Kurangu') and N.N.Pillai ('Kapalika', 'cross Belt')

The troupes that enriched Malayalam theatre and earned national and international fame are Kerala Peoples Art Club (KPAC), Kalanilayam, Deshabhimani Theatre, Sangamam Theatre, Viswa Kerala Kala Samiti, Suryasoma and Geetha Theatres.

In the middle of the 19th century Indian theatre was equally influenced by the western literature and a feeling of nationalism and pride in the glorious past of the country.

In 1852-53, the famous "Parasi Theatre' started in Bombay which influenced the country in no time. On the other hand the amateur theatre also developed with the works of Bharatendu Harishchandra. His 'Andher Nagari', 'Neel Devi', 'Bharata Durasha', 'satya Harishchandra', etc. gave a new dimension to the Hindi theatre. Jayashankara Prasad continued his trend through his 'Skandagupta', 'Chandragupta' and 'Dhruvaswamini'. After Independence, Dharamveer Bharati, Jagdish Chandra Mathur, surendra Verma and Mohan Rakesh have further enriched this style.

After 1947, Bengali Theatre has also seen a change in style and technique. The biggest exponent in this period has been Badal sarkar, whose dramas range from serious forms such as 'Evam Indrajit', "baki Itihaas', 'Pagla Ghoda' to social and exciting dramas like, 'bhoma', 'Julovs', 'Spartakas', 'Basi Khabar' and 'Prastava'.

Mohit Chatterjee's 'Guinea pig'. Arun Mukherjee's 'Marich Samvad'. Manoj Mitra's 'Bagia Bacharam Ki' and other dramas of Ajitesh Banerjee, RudraPrasad Sengupta, Amar Ganguly, Tarun Roy, Prabeer Guha, Kumar Roy etc. have also played a great role in adding to the glory of Bengali theatre.

Indian theatre and drama got a new footing when Kendriya Sangeet Natak Academy aws started in January 1953. Institutions like 'Anamika' in Calcutta (1955), 'Theatre Unit' in Bombay (1954) and 'Three Arts Club' (1948), 'Little Theatre Group' (1948), 'Delhi Arts Theatre' (1951), 'Indraprastha Theatre' (1959) also played a great role in establishing the modern Indian Theatre. State Academies were also established in most of the states in 1950s. However, the most important development was the starting of National School of Drama at New Delhi.

In 1960s, by suitable mixing of various style of techniques from Sanskrit, Medieval folk and western theatre, the modern Indian theatre was given a new, versatile and broader approach at every level of creativity. This made it more realistic, meaningful and lively. Slowly, many writers broke the barriers of regional languages and produced many good works at national level. Badal Sarkar, Vijai Tendulkar, Adya Rangacharya, Girish Karnad, Mohan Rakesh and Dharamveer Bharati are the few among them.