Kathakali ranks high among the Indian dance forms, since it is a dramatic performance in which, the actors do not speak or sing, but interpret their emotions through highly sensitive medium by its vivid and persuasive mudras, natural and impressive gestures, graceful and rhythmic movements, pleasing choreography and above all delightful wealth of imagery. It is not realistic art but belongs to the imaginative type spoken of in Bharata`s Natya Shastra. Kathakali is predominantly a male art and the dancing is mostly of the masculine type.

The position taken by the actor is angular and he never stands erect while acting; his knees are spread out and his legs form a rhombus and he maintains a balance although his outer feet are not flat on the ground. Even his hands bent at the elbow and he has his palms on his hips. The female character however, is lasya and is gentle and grateful, mostly evident in the love scenes. The acting mode of Kathakali in its totality can be better understood in terms of four-fold scheme of historic representation given in the Natya Shastra. They are:

1. Angika Abhinaya: This involves the whole body of the actor and included an elaborate scheme of facial expression, mime and gestures, accompanied by their appropriate movements, poses and attitudes. Dance passages known as Kalasams have an important role to play in Kathakali. While sustaining as a pure dance, it is also meant to enhance the appropriate bhavas. Hand gestures are another integral part of Angika since the interpretation of the text is mainly conveyed through them. Hastalakshna Deepika is the regional text on the Hastas (hand gestures) mainly used in Kathakali.

2. Vachika Abhinaya: One of the distinguishing characteristics of Kathakali is that the actors do not speak and the Vachika (drama text in the form of verses and songs) are recited and sung by vocalists. These songs are explained and interpreted in details by actors through an elaborate method of angikabhinaya. The vocal music in Kathakali although based on the Carnatic system, it has developed a distinct regional style called Sopanasangeetham. Its main aim is the evocation of the appropriate, dramatic mood and sentiments.

3. Satvika Abhinaya: A highly stylized technique in the invocation of bhava has been developed in Kathakali, which is the Rasabhinava. Natyasastra lists another set of 8 moods, which is called Satvika Bhavas, which is more subtle and involuntary as compared to Angikabhinaya. Through an internal discipline an actor develops his ability in mastering this action technique. This helps the actor to go deeper into the characterization of the role in proper situation in the play.

4. Aharya Abhinaya: The make-up and costuming is another important factor of Kathakali, which can be rarely found in any other dance forms. The characters in Kathakali are classified under 5 major types, according to their nature. They are: