Pillai was one of pioneers of modern Malayalam theatre and an advocate of
total theater, he helped introduce a system and academic discipline to it. One of his main contributions was in the initiation of the
Nataka Kalari Movement in Kerala in 1967, along with
C. N. Sreekantan Nair,
M. Govindan,
M. V. Devan, K. S. Narayana Pillai and
K. Ayyappa Paniker, which nurtured several theatre practitioners such as
Vayala Vasudevan Pillai and helped revive a number of earlier dramas such as
Avan Veendum Varunnu of
C. J. Thomas in a new form. The movement staged weekly plays in
Kochi and introduced courses n theatre which was later taken up by a
playhouse movement,
Vaikkom Thirunal Natakavedi, based in
Vaikkom. It was this movement which influenced the establishment of the
School of Drama and Fine Arts of the
University of Calicut in 1977 where he served as the founder director. served as a member of the executive council of the
National School of Drama and sat in the advisory board of the
University Grants Commission of India. Pillai visited Russia in 1977 as part of a cultural delegation send by government of India. Again visited Tashkent as part of Indian Sangeetha Nataka academy contingent as part of the festival of India. Visited United Kingdom in 1986-87 as part of on a British council invitation and in 1987–88, in connection with a joint play production project and co-directed a play in London named ‘The exile in the forest’. Pillai's first work was a one-act play titled
Snehadoothan (Messenger of Love), published in 1956.
Vivaham Swargathil Nadakkunnu (1958) (Marriages happen in heaven),
Bharatha Vakyam,
Kiratham, Thirumbi Vandan Thambi (The brother who returned),
Raksha Purushan (The rescuer),
Bandi (The hostage),
Sharashayanam (Bed of arrows),
Poymukhangal (Masked faces),
Kauzhukanmar (The eagles),
Vilangum Veenayum,
Peipidicha lokam (The world gone mad),
Dharmakshetre Kurukshetre, Olapambu (Fake Snake),
Pushpakireedam (Floral Crown),
Nizhal (The Shadow),
Gurudakshina (Offering to the Master),
Nidhiyum Neethiyum (Treasure and Justice),
Maddalangal (Drums),
Rail Palangal (Rail Tracks),
Ponnumkudam (Golden Pot),
Chithra Salabhangal (Butterflies),
Thamara (Lotus) and
Orukoottam Urumbukal (A Group of Ants) are some of his major plays while
The Theater of the Earth is Never Dead,
Selected essays of G. Sankara Pillai,
Ibsante Nataka Sankalpam,
Njan Kanda Delhi (The Delhi I saw),
Bertolt Brecht,
Nataka Paramparyangal (Drama and heritage),
Samvidhayaka Sankalpam (The concept of a director),
C. V. yude Hasya Sankalpam (C. V.’s Concept of Humour),
Malayala Nataka Sahithya Charitram (The history of Malayalam Drama) and
G. Sankara Pillayude Lekhanangal (Collection of articles by G. Sankara Pillai) are some of his works of prose, of which
Malayala Nataka Sahithya Charitram is considered as an authentic work on the history of Malayalam theatre. "Sankara Pillai's efforts rendered the stage and theatre actors a dignity that was lacking until then", said
Sajitha Madathil, on the occasion of the 25th death anniversary of Sankara Pillai. == Awards and honours ==