In classical-dance vocabulary, nritta is abstract rhythmic movement without a narrative claim; expressive dance conveys meaning through gesture and emotion; natya brings dramatic representation and character into a fuller stage frame. Sources sometimes use nritta, nritya and natya in different explanatory levels, so read the question's wording. CCRT's Kuchipudi package discusses nritta, shabdam and natya as performance elements. The distinction helps prevent a common error: calling every hand gesture a complete story or every fast footwork passage a dramatic role.

Rhythm is heard and seen: feet articulate patterns while the musicians maintain tala. The face, eyes and hands can communicate a character's response; a singer or narrator may supply text. The same dancer can shift between non-narrative technique and a character's emotional voice. The book's diagram places movement, expression and drama in overlapping circles rather than claiming rigid separations. For exam identification, Kuchipudi's AP origin is a stronger anchor than a single pose from an illustration.

Worked example: An image shows expressive facial work but little travel across the stage. That can still be part of Kuchipudi because the form combines pure movement, abhinaya and dramatic communication. Identify which component the image illustrates; do not declare the whole form from one pose. In an MCQ, a correct option may name the technique rather than the regional origin.

Active recall: Explain nritta and natya with one example each. Why can a single Kuchipudi item contain both?