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It is said that the gods created dance as a device for entertainment. Later, in order to please the gods, human beings enacted the tale and glory of the gods. Thus began a cycle of celebration manifested in the joyous abandon of movement and music. Over a period of two millennia, dance in India acquired a set grammar, which led to a certain codification of technique. Thus were sown the seeds for Bharata Muni's celebrated treatise on dance, the NATYA SHASTRA. Bharata's Natya Shastra (believed to be penned between second century B.C. and second century A.D.) is the earliest available treatise on dramaturgy. All forms of Indian classical dances owe allegiance to Natya Shastra, regarded as the fifth Veda.

The fascination for Indian dance all over the world is indicative of the deep-felt needs to use the human body to express and celebrate the great universal truths. Indian dance does just that in a heightened, reverential form. Also, since dance is physical and visual, it illuminates India's culture in a direct manner, playing on the sensibilities of the onlooker. Thus, those who are attracted to India will find the idiom of dance the best introduction to India's rich ethos and traditions.

http://www.angelfire.com/ma2/bharatanatyam/bn.html
With reference to the Indian classical dance before my eyes immediately brought the figure of a dancer in a beautiful dress, giving the solo presentation, whether it bharatnatyam, Kathak or Orissa. In India, there is a long-standing deep-rooted tradition and a unique performance of classical dance solo.

What is mentioned in the "Natya Shastra" Bharat (work on a dance) as an ornament or decoration to the drama or the theater, over the centuries has developed and gained its own identity and status and became an independent kind of art. The reason for this lies in the nature of this art.

Indian classical dance combines in its abstract form (nritta, or pure dance, as it is called) plot of a story or theme, conveyed in a narrative form through abhinayu (facial expressions and expressions) and gracefulness. Dancer-soloist uses her body as an instrument for the transfer and creation of atmosphere and effects, without any props.

What distinguishes the Indian classical dance from other dances of peace is the important role played by each dancer's face, his whole face. Once a dancer comes to posture and moving your hands make the appropriate gesture (the Wise), her face and eyes reflect the inner feelings and emotions of nature, the way that it creates, no matter how thin they are (bhava).

This is the art of communication through dance bhavu and abhinayu and the aesthetic pleasure to receive from the audience, detailed analysis of the theory of "race", the fruit of the Indian genius. Analysis of the human mind, the whole range of emotions, to which he is capable of, and detailed discussions about the demonstration and development race in the "Natya Shastra" and other subsequent texts leave us completely zavorozhennymi.