Natya dharmi pertains to the conventions of the stage. According to the Natyashastra, natyadharmi is a theatrical representation larger than life and considerably conventionalized. It is stylized, and the artist`s imagination has a free hand in this mode, contrasted with lokadharmi. This simulates the natural way of life. The abhinaya or acting may be more ornate and refined in natyadharmi, more suggestive and metaphorical. Natyadharmi is characterized by the elaborate employment of body language based on a rich gestural semiotics. Thus courtly Sanskrit theatre or extant temple forms of dance-drama generally qualify as natyadharmi, and the comparatively secular, less codified, folk performances as lokadharmi.

Too many speeches and activities, acting necessitates playful flourish of limbs, there are characteristic features of dance items Svara and Alamkara that are employed in well arranged fashion and emotionally carried characters - it is Natya Dharmi

If things used by the common people appear in a play in an earthly form and speech it is Natya Dharmi. If the words uttered very close by are expected to be not heard by the other characters and words not spoken are also supposed to be heard, it is Natya Dharmi. If objects like mountains, vehicles, vimanas, shields, armours, sastras, flagstaff and banner are personified and appear on the stage in human form is Natya Dharmi.

If after appearing in one role, a character assumes another character in the same play it is Natya Dharmi. If instead of walking in the usual- manner a character moves ahead with graceful movements of the limbs and steps it is an instance of Natya Dharmi. The common features of men like happiness and sorrow are displayed along with Anga Abhinaya. This is Natya Dharmi.

The Kaksya vibhaga depending on different sets of rules when produced on the stage is NatyaDharmi. A dramatic performance should have Natya Dharmi items. The decorative movements of limbs in producing play have been considered Natya Dharmi.

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