The technique of dance that emerges is seen to be made up more or less same components as that of drama proper as first codified by Bharata in the Natyashastra.The components are: a) Abhinaya –s Abhinaya is common to all Classical Indian dances. Abhinaya is the expressional aspect of dance, or nritya. In contrast to this, Nritta is composed of only pure dance and will feature striking and aesthetic poses, but will have no expressional meaning and symbolism. Several people have studied these arts for several years and have done several researches on these expressions and the symbols that the dancers portray. Abhinaya has been very carefully analysed in the Natya Shastra and then after throrough research and analysis of the most finest points of dances Abhinaya have been categorised into four types: Angika - or physical, using movements of every part of the body to convey meaning, with hasta mudras (hand gestures), mandis (postures) and even the walk of the dancer. Vachikabhinaya - or vocal/verbal, used formally today by members of the orchestra or supporting, non-dancing cast. Aharyabhinaya - or external, expression, mood and background as conveyed by costume, make-up, accessories and sets. Satvikabhinaya - or psychological, shown by the eyes in particular and as a whole by the entire being of the performer, who feels the mood, the character and the emotion as emanating from the self, not as an act or practical presentation. b) Vritti-s (Styles) Bharata introduces the four vritti-s – bharati, sattvati, arabhati, and kaisiki. The origin of vrittis has been attributed to Vishnu by Bharata, and this, for almost the first time that Vishnu has been attributed with a major activity, connected with the presentation of a drama. All along the natyashastra it is Brahma who is attributed with the creation of natya while Shiva is very freely accepted to be the originator of dancing. The combination of the natya practice and nritta has given rise to nritya. Thus two of the trimuverate have been associated with the practice of Natyaveda where Vishnu the third God has been left out and it is here in the vrittis that he is associated with this theatrical practice and also in the most attractive and apt manner. c) The two Dharmi-s – About Lokadharmi-s Bharata says: “ Svabhavabhavapagatam suddham tvavikritam tatha Lokavartakripetangalila vivarjitam Svabhavabhinayopetam nanastripurushashrayam yadidrusham bhavennatyam lokadharmi tu sa smruta “ The above shloka means when a play(natya) shows the natural emotions and behaviours(in its characters) which is straight forward (suddham) abnd not artificial (avikrutam) and in its story incorporates the activities of people is devoid of flourishes of the limbs,and depends upon(the presentation of)men and women of different varieties,it is called lokadharmi (realistic type of a play).