The main tendencies of development of the Chuvash dramaturgy in the 1990s are considered in the article. The end of the twentieth century was marked in the history of the Chuvash people by a number of social, political, cultural changes that had an impact on the development of the national drama. During this period, it was characterized by a multidirectional development and expansion of the ideological and thematic range. In the article on the broad material of the Chuvash dramaturgy of the 1990s the motives of social and economic shocks, reflected on family values and moral orientations of modern society, are shown, the urgency of the conflict between the society and the person in the conditions of the rapidly changing world is shown. The article is a continuation of the author's scientific research related to the generalization of the artistic merits of the Chuvash drama. The main attention is paid to the dramas of B. Chindykov, N. Sidorov, N. Ugarin, A. Tarasov, in which the authors analyze the actual problems of history and the present day with dramatic means, compre-hend the past of the people, investigate the development of the national character, identify the sources of social and moral problems of modernity. Considerable attention is paid to different approaches to the problem of identification of modern Chuvash drama in the paradigm of one or another type of creativity (realistic, postmodern). Thus, based on the analysis of B. Chindykov's artistic system of dramaturgic experiments (“Blackberries along the wattle fence” etc.), their involvement in the general paradigm of the so called “new drama” is proved. The article also analyzes the genre components of the Chuvash drama, determines the artistic status of each of them in the system of poetics of the genre, examines the features of the conflict.