The sphere of Indian English drama is strikingly under - developed both creatively and critically in comparison with its fellow disciplines: Indian English poetry and fiction. Only a few exceptions are to be found in the case of the modern plays which are included in the university syllabi as play -texts. The critics and writers pay much attention on the plays which are studied as university texts. The readers may find ample books which have included the critical studies of the plays of modern Indian dramatists like Vijay Tendulkar, Girish Karnad, Mahesh Dattani, Badal Sircar etc., albeit with traditional point of views. So any new study of Indian English drama is always welcome. This paper intends to review Vijay Tendulkar ’s plays, particularly Kanyadaan, through the point of view of Dalit aesthetic theory and subalternity . Dalit literatur e has emerged as an important discipline now in academic and non -academic sphere. It occupies a separate entity in the broad spectrum of Indian English Literature. On the other hand, theatre is the most powerful lively medium to represent society and its c ontemporary problems. Dalits in India are placed at the lowest position in the Hindu caste system from the ancient time; and hence they are oppressed and marginalised not only in society , but also in literature. The representation of Dalits in the various fields of mainstream literature is very scanty . Thus representation of Dalit in Indian English Drama hints at a vast untouched area. Vijay Tendulkar (1928-2008), one of the most prominent Indian playwrights, has very exceptionally represented Dalit in his controversial play Kanyadaan. Being a non-Dalit writer himself, Vijay Tendulkar was Bibhas Chand  Page 35 always conscious about controversial social themes, including violence, poverty , women’s rights, Dalit question and corruption