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Critical acclamation…

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“Although Sandhya's innovative choreography at times transcends the conventional vocabulary of Bharatanatyam to express the emotional content of their passionate Madhura Bhakti; Brahmanand was a mesmerizing production…”
Manjari Sinha, The Statesman – New Delhi
“It was most interesting to note that all the narratives were marked by intimate and imaginatively-told stories; were couched in the simplest of lingo suiting the rusticity of the simple womenfolk and, quite often, veered charmingly towards ninda-stuti (condemnation first, adulation later)  for their divinity.”
Utpal K. Banerjee, The Pioneer – New Delhi
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“Although Sandhya's innovative choreography at times transcends the conventional vocabulary of Bharatanatyam to express the emotional content of their passionate Madhura Bhakti; Brahmanand was a mesmerizing production…”
Manjari Sinha, The Statesman – New Delhi
“Purecha made a brilliant summation of the first four chapters of Bharata’s Natya Shastra, stanza by stanza, placing their meanings and nuances alongside its ace commentary, AbhinavaBharati. According to her, Bharata’s natyakalpa (dramatic imagery), used in dance and drama both, is only asaakar (concrete) form of the path leading to the yogic chittavritti-nirodha (stilling and silencing of mind)."
Utpal K. Banerjee, The Pioneer – New Delhi
Grammar of gestures

“Apart from the Abhinaya aspect, Sandhya Purecha also demonstrated several Karanas, as described by Nandikesvara. It was indeed a marathon performance, which she went through with exceptional virtuosity, although she did not have the benefit of telling a story. She had to hold the interest of the spectator with the sole help of definitions and descriptions of the various moods, modes and Rasas. She has given a fine rendering of the grammar of gestures, as defined by Nandikesvara and as choreographed by Guru Parvati Kumar.”
The Hindustan Times - Delhi
Returning to One’s Roots?

“(The) presentation was the first of its kind and a marathon visualisation of a LakshanaGrantha (a text of grammar)...... it came off as a lucid elucidation, blending harmoniously the body language and expressions that the mudras evoked at physical and mental levels. The visual lucidity equally owed to the synchronicity of fluent musical spin-up in a varied Tala format.

Witnessing the AbhinayaDarpanam presentation with each of the shlokas having a wealth of meaning and scope for interpretations, one was convinced that there is no need to grope for material for innovation outside tradition.

There is enough within our tradition and texts, if one had only the vision, imagination and interpretative ability.”
Free Press Journal - Mumbai
“It was most interesting to note that all the narratives were marked by intimate and imaginatively-told stories; were couched in the simplest of lingo suiting the rusticity of the simple womenfolk and, quite often, veered charmingly towards ninda-stuti (condemnation first, adulation later)  for their divinity.”
Utpal K. Banerjee, The Pioneer – New Delhi
“Sandhya as Janabai and Shanti Mohanty as Vithoba performed with excellent rapport winning audience appreciation. The entries, exists, groupings and movements were impressive. The dancers took leaps like deer, walked gracefully  like swans, flew like birds.
 
Dr. Sunil Kothari, Narthaki
“Discovery of India, dance drama choreographed by Dr. Sandhya Purecha was staged at the Nehru Centre, Mumbai….Presented by 100 artistes and 7 classical dance forms, with the support of SarfojiRajeBhosale Centre, the glimpses of India through Pandit Nehru’s vision left an indelible impression on viewers. One did not realize that within two hours one was enjoying the Discovery of India presented in such an easy to relish manner.”
Dr. Sunil Kothari, Narthaki
“Portraying the glory and the magnificence of Lord Shiva, the production projected different episodes like Neelakanta Shiva, Sati Balidan, ParvatiParinaya, Ganesh Utpati, TripurasuraVadha, Yamantaka Shiva, Ardhanarishwara……. It was a wonderful spectacle to witness the dramatisation of various episodes of the Lord with brilliant team work. The dancer as Lord Shiva was befitting. Sandhya Purecha is among the most prosperous dancers today in the city with several performances by her and her students throughout the year.”
Vijay Shankar, The Afternoon D & C
“Sandhya Purecha’s ... performance of AbhinayaDarpanam in Bombay gripped the attention of the audience right from the moment the curtains opened on a strikingly traditional stage decor. The intonation of the sacred syllable Aum created a mood of pious devotion.”
Shruti Magazine - Madras
A Life-time Sadhana

“However, as the ‘modest demonstrations’ of the codified Lakshanas of the gesture vocabulary unfolded, one found much material to understand and appreciate.

AbhinayaDarpanam was like a breath of fresh air and an aesthetically satisfying experience in the present desultory performing scenario. It was definitely worth the while for Bombay’s cognoscenti and the many disciples who had travelled great distances across the country to be present for the event.”
Shanmukh- Mumbai
Varied & Vivid

“Sandhya Purecha, the talented disciple of the Acharya and active collaborator in his research work performed the exacting ... marathon. The incredible stamina with which she performed drew repeated applause. Her facial expressions were varied and vivid, and the postures statuesque. The other three aspects of Abhinaya viz. vachika, aharya and sattvika were also depicted with equal facility.The programme has succeeded in generating a more serious approach to the study of dance and a higher level of appreciation of the art form.”
Indian Express - Madras