The Prominent Indian playwright, Girish Karnad, plays a very significant role in the progression of postcolonial Indian theatre. The most captivating part of his plays is the blend of indigenous traditional forms into modern dramatic art to challenge the ideas of hybridity, lost identity and cultural reclamation. The play throws light on the notion of incomplete selves which is symbolized through the horse headed man and it reflects the struggles faced by the colonized to find their identity and reclaim wholeness. This paper explores how one of the most famous plays Hayavadana challenges the Colonial theatrical art by incorporating Indian folk forms like Yakshagana, prioritizing intercultural artistic forms instead of western narratives. This paper seeks to delve into how the popular play Hayavadana by Girish Karnad is significant to the postcolonial theatre. It examines how the play addresses issues of fragmented identity, cultural hybridity and the tension between tradition and modernity. It also aims to analyse Karnad’s use of indigenous theatrical forms alongside western techniques to show the complex realities of a postcolonial society seeking self-definition.