Balinese dance has a unique part different than other from Indonesia Dance, for the Balinese, the theatre is not a profession. Aside from those who perform music and dancing, the village creates a theatre for the enjoyment of the community.

There many kind of dance in Bali, and that can be categories to be as follows: Sacred dance, ceremonies dance, regional dance, people dance and many more will describe here.
And we can categories more to be the famous one and until present still performed in many stage or theatre in Bali was : The Classic Drama, Arja Dance, Topeng Dance, Barong Dance, Baris Dance, SangHyang Dance, Arang Dance, Kecak Dance, and many more will describe here.

Unlike Javanese, who developed slow, controlled, continuous movements performed with eyes downcast and limbs close to the body, the Balinese dancers are charged with energy, eyes agape, dating this way and that, high-stepping, arms up, moving with quick, cat like bursts that would startle a Javanese.

The origin of Balinese theatre is a religious one. Just as a temple offering is food made beautiful to present as a divine feast, so a temple dance offers the motions of daily life made beautiful as a gift to visiting deities during temple festivals. Good music, splendid costumes, fines dancing and drama give pleasure both to divine guest and village audiences. Religious dances serve as ceremonial offering and dedication in the temple. Many forms of contemporary drama, such as the exorcism plays, function also as a bridge between the mundane and the Spiritual world.
Because of their religious significance, dances and plays are const2ntly revived by the community. An adult will have seen certain play hundreds of times there form it is at all important that a drama begins at the beginning and of the end. Often an episode enhanced is only a small part of a very long story. As soon as the play starts, a Balinese recognizes the story an automatically views it in its popper perspective. If a golden deer appears, he immediately knows the story is from the Ramayana, that Sita will soon be kidnapped, but eventually rescued.
Since they know all the tales and dances by heart the people feel perfectly at home watching a performance. They are not on edge to see what happens next, and may stand for hour’s t growing tired or impatient. Elaborate props and sets are unnecessary. A conversation between two characters conveys where they n to be at the moment, whether in the near the seashore, or at the king's palace. By a long familiarity with the theatrical forms and by sheer imaginative force, the mind audience creates the pictorial realities of the stage

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