Again the 'mridangist' or the player of any percussion instrument must give all his support by apt and split-second effects. Rhythms also have part in creating emotions. Lastly, literature has a great part to play in dance. A dancer who does not understand the literature of the song fails to interpret it correctly and does the acting (abhinaya) mechanically. There is a world of difference when the singer sings  the 'sahitya' with beautiful melody and emotion.

The interpretation of 'sahitya' is unlimited giving full scope to depict religious and emotional background. The greatest achievement of a dancer or a dance teacher is in the creation of dance dramas wherein the dancer-composer has to take into account the merits and demerits of the dancers available to create something new, suggest the music for the various characters, if possible, give ideas for the arrangements of decors for such dance-dramas and thus enact a story with the dance technique he knows. Dance-dramas are now popular in India.  Though Kathakali technique adapts itself suitably to dance drama-s, its adaptation requires careful planning by the  dance composer the he should choose the right things for the technique.

Bharata Natya has probably the greatest scope for the creation of big dance-dramas. These are impossible to be creates without the help of big finance and active co-operation of great dancers. On top of this, there must be a dance composer or choreographer who should visualize the whole dance-drama and translate it into various dances by the individual artists. Bharata Natyam is a series of fast moving sculptural poses whose perfection requires careful study.