| dc.description | Abstract The focus of this article is on the performance of mantinades, and especially on the multitude of the possible performance arenas. I will use the notion performance arena in the sense introduced by John Miles Foley (1995:8, 47-49): beyond the physical environment where the performance takes place as a virtual arena, where the meanings and references carried by the register,4 the shared special language of expression, can be expressed and understood economically. I concentrate here on the oral performance arenas, which I think also form a necessary basis for any conversation on the performances in the written or media arenas. I have grouped these oral arenas into the following five frames: first, the sung performances 1) in a glenti (feast), 2) in a parea (a get-together of a group of friends);5 and second, the recited performances 3) embedded into speech (proverbial, referential, meditative, etc), 4) telling a story of a past performance, 5) presenting poetic inventiveness. | eng |
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