This research paper takes a closer look at the complex representation of women in the modern Indian English dramas by modern dramatists Manjula Padmanabhan, Dina Mehta, and Poile Sengupta who challenges the all-pervasive patriarchy and focuses on the disempowered voices of women. Though traditionally Indian theater performance has restricted female characters to passive roles which are highly stereotyped with domestic ideals and submissiveness, this research project shows that Padmanabhan, Mehta, and Sengupta break down these ideas in a socio-cultural manner. The paper is an exercise of a feminist critical perspective on their multifarious dramaturgical strategies to reveal the systemic oppression, physical violence and psychological trauma experienced by the women in a postcolonial Indian society. His controversial novels, including ‘Lights Out’ are examined to determine the stark portrayal of gendered violence and the feminisation of the body for commercial value, exposing how apathetic the urban society is. Mehta's dramatic canon such as Brides Are Not for Burning is explored for its powerful critique on the dowry system, domestic violence and the repression of contemporary feminist emancipation and the more traditional orthodox values. Besides, the paper focuses on how Poile Sengupta, in her structurally creative works, including Mangalam, seeks to explore ‘women identity', ‘generational trauma', and the ‘poisoned waters' of gender discrimination that brews in the ‘extended family'. In the end, this comparative reading leads to the recognition that, although the thematic framework and stylistic approaches of these three pioneering dramatists are different, they all collectively have one radically modern vision. They manage to create a space that is simultaneously theatrical and political, one that is not dominated by the male gaze, but by a pointed, independent female protagonist who is an active, resistant, and assertive character with whom to contend in what are equally fraught and fascinating roles of gender, power, and contemporary identity.