[2] Three years later, Pillai returned to academics when Dewaswom Board College, Sasthamcotta was established in 1964 by joining the institution as a faculty.

Pillai was one of pioneers of modern Malayalam theatre and an advocate of total theater,[7] he helped introduce a system and academic discipline to it.

[8][9][10] 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,[11] which nurtured several theatre practitioners such as Vayala Vasudevan Pillai[12] and helped revive a number of earlier dramas such as Avan Veendum Varunnu of C. J. Thomas in a new form.

[14] It was this movement which influenced the establishment of the School of Drama and Fine Arts of the University of Calicut in 1977[citation needed] where he served as the founder director.

[3] He was also the founder director of the School of Letters of Mahatma Gandhi University and he chaired the Kerala Sangeetha Nataka Akademi,[15] 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.

[17] Vivaham Swargathil Nadakkunnu (1958) (Marriages happen in heaven), Bharatha Vakyam,[18] 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[2][19] while The Theater of the Earth is Never Dead,[20] Selected essays of G. Sankara Pillai,[21] 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,[17] of which Malayala Nataka Sahithya Charitram is considered as an authentic work on the history of Malayalam theatre.

[2] "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.Sakara Pillai received the Sangeet Natak Akademi Award in 1964 for play-writing;[22][23] the same year as the Kerala Sahitya Akademi honoured him with their annual award for drama for his work, Rail Palangal.