Search

Lia Bencivenga accused Garofano of having decided alone, ignoring laws, protocols, and investigative guarantees. She argued that he was not the only one responsible for sending an innocent person to prison and called the facts and the crimes very serious. Bencivenga said she hoped to see him again only in court, along with his collaborators, and invited him to contact her privately if he wanted to sue her. She finally stated that, in her opinion, the era of impunity and constructed reconstructions was over. #GARLASCO #Giustizia #Vigilanza #Corruzione (translated)

This is the largest expansion of our sanctions list since Russia began the war. Europe is once again showing a united front. More than half of these items are linked to the production chain of ballistic missiles. We are making it significantly more difficult, slower, and more expensive for Russia to produce the weapons it uses to kill Ukrainians. #SanzioniUE #GuerraInUcraina #SicurezzaEnergetica (translated)

If we do not build structural and long-term responses, we risk being at the mercy of emergencies. This was stated by the President of the Council Giorgia Meloni about the high energy costs while speaking at the Assolombarda assembly in Milan. #CaroEnergia #Rinnovabili #Competitività (translated)

The President of the Council, Giorgia Meloni, emphasized the importance of structural and long-term responses to address the energy crisis, highlighting the commitment of the Italian government to reducing costs for families and businesses and promoting the production of renewable and nuclear energy. #CaroEnergia #Rinnovabili #Competitività (translated)

Canario Today stated that, while thousands of Canary Island children suffered from family poverty, the Canary Islands Government continued to allocate public funds for the leisure of unaccompanied foreign minors. It indicated that it offered more information in an article published in Gaceta. https://t.co/cZNHj5ruHj #Canarias #PobrezaInfantil #MENAs (translated)

Valentali wrote about finding it ironic that Ronc was identified with the program he had participated in before, while the other competitors seemed to be there for their own culture, as if they had come from Superquark. He added that some participants had built a long-lasting career with trash content. #gfvip #alepier #gfvip #realityshow #trashtv (translated)

Sabrina F. argued that a unique, centralized, and mandatory digital identity could become a tool for conditioning access to work, purchases, travel, and healthcare. She clarified that she is not against technology, but against the imposition of digital systems without alternatives, and stated that fundamental rights should not depend on a QR code or a connection. In the post, she reported that on March 4, 2026, an event on digital identity was held at the European Parliament in Brussels. According to Sabrina F., the Dutch lawyer Meike Terhorst, specializing in law, discussed the expansion of digital identity systems and their possible effects on privacy, civil liberties, banking and public services, and participation in everyday life. Sabrina F. reported that Terhorst had argued that member states could refuse digital identity and had advised citizens who possessed one to get rid of it. Sabrina F. concluded by aligning herself with a technology that serves people and called for critical voices to be heard. #IdentitàDigitale #Libertà #DirittiUmani (translated)

In November, negotiations on the multiannual financial framework enter a decisive phase. Our next meeting must therefore bring us closer to consolidating the key elements needed to reach an agreement by the end of the year. I count on your leadership in a spirit of cooperation. The President of the European Council, António Costa, warned leaders in a letter that time is running out and that the deadline for reaching a compromise is getting shorter. #EU #proračun #pregovori (translated)

The EU foreign ministers have just adopted nearly 1,600 new entries to the sanctions list targeting Russia's military-industrial complex. This is the most extensive expansion of our sanctions list since Russia started the war. Europe is once again demonstrating unity. Over half of these are related to the production chain of ballistic missiles. We are making the production of weapons that Russia uses to kill Ukrainians significantly more difficult, slower, and more expensive," Kaja Kallas stated. #UE #sancțiuni #Rusia (translated)

This is the largest expansion of our sanctions list since Russia started the war. Europe is once again demonstrating its unity. More than half of these items are linked to the ballistic missile production chain. We are making it significantly more difficult, slower, and more expensive for Russia to produce the weapons it uses to kill Ukrainians, says EU High Representative Kaja Kallas. #Sanzioni #Russia #Ucraina (translated)

Sabrina F. wrote that defending fundamental rights should not be defined as racism and distinguished her critique of a model of society from hostility towards a religion. She argued that in that model, the law would be subordinate to a sacred text, that changing faith or loving a person of the same sex could lead to severe penalties, and that in 2026, in ten states, the death penalty could be at risk for the latter reason. She also cited marriages with girls aged 9 and restrictions imposed on women, including beatings by moral police for the veil. According to Sabrina F., the separation between religion and law and equality before the law were principles enshrined in the Constitution. She criticized what she described as a selective silence on the rights of LGBTQ+ people and women: she wrote that in half of the planet, rainbow flags could lead to life imprisonment or the death penalty and recalled the case of a twenty-year-old beaten by the moral police for the veil. She added that in too many countries opening a church could lead to prison and argued that accepting laws applied differently in the same society was neither inclusion nor openness. #DirittiUmani #LibertàDiCredo #GiustiziaSociale (translated)

In his first television interview since leaving power, Passos Coelho stated that what he did in the past is more important than what he said, criticizing the continuity of António Costa's government and arguing that the right should be more united. #PassosCoelho #MárioCenteno #PolíticaPortugal (translated)

The author mocked the claims of a person who, besides having stopped eight wars, would have said to constantly prevent conflicts between Japan and North Korea, China and Taiwan, and Australia and New Zealand. He added that a possible war between Pisa and Livorno had not been mentioned. https://t.co/bayvoYGc5v #guerra #pace #politica (translated)

He stated that Garofano had inappropriately tasked a friend of his with drafting a psychological report, which he judged to be of very poor quality. He also reported that Dr. Bramante would have denied being the author of the document and pointed to Garofano as a possible promoter of a strategy to blame Stasi, even through illicit means. He concluded by hoping that justice would take its course. #Giustizia #Verità #Ingiustizia (translated)

The article discusses the evolution of politics since the presidency of Barack Obama, comparing his era to a prehistoric period in light of the significant changes brought by the administration of Donald Trump, and also addresses issues regarding state intervention in Portuguese companies, the re-election of António Costa in the EU, and the devaluation of the work of local leaders. #BarackObama #Política #AntónioCosta (translated)

Last week, the head of the German foreign intelligence service BND, Martin Jäger, stated that Russian President Vladimir Putin's war effort has created a situation from which the Kremlin leader can exit with difficulty and without political costs. #RăzboiÎnUcraina #PierdereaMilitară #NATO (translated)

LETTERE MERIDIANE — “TEATRO-EDICOLA” OF SAN SEVERO CONQUERS THE WORLD SOURCE: https://www.letteremeridiane.org/2026/10/il-teatro-edicola-di-san-severo-conquista-il-mondo/?fbclid=IwY2xjawU4oqFleHRuA2FlbQIxMQBwZG9mAXNydGMGYXBwX2lkEDIyMjAzOTE3ODgyMDA4OTIAAR5rVEwYs6UUXg7v-P0SyIQ_DRb_F6ZiY58OcseYoV4J7atcTiERnhWaqKM2pw_aem_Njle1jq1XLzHr93KLBUcVA After “Broadway World”, the “Los Angeles Journal”, “The Psychologist (British Psychological Association)” and Hollywood Beat Magazine, its “academic consecration” has now arrived courtesy of Stanford University. As I have already emphasised in my article on the revival of the GIO Festival in Foggia, celebrated by BroadwayWorld for the world stage premiere of the Giordano’s opera Marina (1888), the province of Foggia has long ceased to be peripheral. It happens when it finds an idea that shifts the coordinates: well, in San Severo, 40 kilometres from Foggia, it has happened again. Only this time an orchestra was not needed; six chairs were enough. The celebrated Teatro-Edicola of San Severo artistic director Francesco Gravino of the theatre company Foyer ’97 has been featured in the academic journal “Stanford Social Innovation Review (SSIR)” as an academic case study. The news, relayed on 19 September 2026 by ANSA Nazionale, looked like a misprint. Then it became clear that it was not. SSIR, an award-winning publication covering multisectoral solutions to global problems, included the project in its Dispatches section with the reportage “The Six-Seat Revolution”. It is the inverse trajectory to that of the GIO Festival: not a forgotten opera returning to a grand historic Italian horseshoe theatre, but an entire theatre reborn inside a disused place, forgotten by man. There are moments when past and future intertwine to create something visionary, innovative, artistically “revolutionary”: San Severo experienced one of those moments on the morning of 27 March 2026, during World Theatre Day, when the shutter of a newsstand closed for six years in Via Matteo Tondi was reopened “not to sell newspapers, but to offer stirring stories”, to quote Gravino’s motto. The idea of the visionary Francesco Gravino, artistic director, stage director and actor of the San Severo company Foyer ’97, active for at least 30 years in Capitanata, centred on the kiosk, hexagonal in metal and glass, granted free of charge by its owner Pino Frau, by now an urban relic created by the publishing crisis of the early 2000s: today in Italy active newsstands have fallen from about 35,000 in 2005 to about 20,000 in 2024, a decline of 42.8%. Gravino and eleven other actors restructured it in two weeks of work, without institutional funding, and transformed it into what is now under examination by the London commission of Guinness World Records as the “world’s smallest theatre”. The formula is deliberately austere: six spectators at a time outside, actors inside at less than a metre’s distance, 15-minute performances, continuous rotation from 11:00 to 20:45, texts ranging from Goldoni to Chekhov, from Ibsen to Dacia Maraini. On the door a QR code with an original theatrical warning: “Warning! This QR code transforms passers-by into actors. Scan only if ready.” The numbers immediately showed that it was no boutade: more than 60 people in a single afternoon, three inaugural days that sold out. But above all a positive echo that went beyond the borders of San Severo. “Broadway World” (just as in the previous case of the GIO Festival), the world’s most influential theatre criticism outlet with over 5.5 million monthly views, devoted exclusive coverage to it on 27 April 2026: “An Abandoned Italian Newsstand Just Became the World’s Smallest Theatre”. Not a mere listing, but an analysis: “There is no foyer, there is no balcony, there is no grid. There is barely a wing. What there is is something almost unrecognisable as an evening at the theatre, and for that very reason it is all the more powerful.” “Broadway World” captured Gravino’s manifesto idea: “This is a theatre of proximity. In an era of digital distance, we are putting human contact back at the centre,” framing it as “More than a clever exercise in site-specific theatre. It is a reappropriation.” All of this, in a Mezzogiorno of Italy often narrated only in terms of organised crime and marginalisation. To that seal of approval was added another, even more disorienting for a newsstand in San Severo: the “Los Angeles Journal”, one of the most influential publications on the West Coast for the performing arts. On 12 May 2026, it headlined thus: “San Severo’s Teatro-Edicola as an Innovative Model for Los Angeles Theaters?” opening as follows: “In a city in southern Italy that Hollywood has never heard of, a theatre director has just built the smallest stage in the world: six seats, fifteen minutes, zero distance. Los Angeles should pay attention.” The “Los Angeles Journal” does not indulge in folklore, but places the kiosk in Via Matteo Tondi alongside the prestigious 1,600-seat Ahmanson Theatre in Los Angeles, the Pantages of Broadway in Hollywood, the 99-seat plan of Rogue Machine, the Odyssey, the Victory Theatre and the Hollywood Fringe. It even recalls Ethan Marks’s Electrical Box Theatre, a veritable electrical box lined with red velvet in downtown Los Angeles, to argue that Gravino has taken to the extreme the question Los Angeles has been asking itself for decades: How small can a stage become before it ceases to be a stage? And it recognizes the San Severo urban model: almost zero cost, two weeks of work and six chairs, in return for immediate provincial, regional and national media coverage, recognition by the San Severo’s Municipal Administration, and a format exportable anywhere. Then, the third American piece came from “Hollywood Beat Magazine” on 20 April 2026: Six seats. Fifteen minutes. One actor. No stage. The magazine recounts the kiosk in Via Tondi left disused for almost six years, the contemporary six-seat cultural outpost, placing Francesco Gravino in a distinguished genealogy: Richard Schechner and environmental theatre, Jerzy Grotowski and poor theatre, Nicolas Bourriaud and relational aesthetics. But it closes with pragmatism: it is not a thesis, it is fixing a street corner, that is, repairing an urban street corner by asking not how large a theatre can become, but how small it must become again to recover its original power. And finally, the celebrated London-based “The Psychologist”, the journal of the “British Psychological Society (BPS)”, the oldest psychological society in the world, transformed the Teatro-Edicola into a scientific case study: on 30 July 2026 it published “The world’s smallest theatre — and Psychologists’ next act”, starting from the same detail, the morning of 27 March when the metal shutter of the hexagonal kiosk in Via Tondi reopened after six years, six people inside, an actor at less than a metre’s distance beginning Chekhov. It describes the formula: six spectators, 15 minutes, 11 actors over 10 hours, from Goldoni to Euripides, inside a kiosk where the fourth wall does not break because architecturally it never existed. But the BPS goes a step further: it cites the 2025 studies by Damien Gabriel in IBRO Neuroscience Reports, that live performance generates measurably stronger emotional and physiological activation than video, and introduces Edward Hall’s proxemics: below one metre is intimate space, reserved for doctors, close friends, lovers. In that one-square-metre space, the actor’s breath is audible, micro-expressions legible, the self-other boundary becomes permeable. The Teatro-Edicola “does not make theatre better, it makes it inevitable”. And it is here that one understands why Stanford is studying it as an academic case study in social innovation, not as a case of artistic originality. In Italy, meanwhile, the national media circuit had already picked up the phenomenon: RaiNews — TG2 Storie brought it to RaiDue at midnight on 19 April. RTL 102.5 devoted space to the format conceived by Gravino and developed by Foyer ’97 in the heart of San Severo in Via Tondi, defining it as a permanent micro-stage capable of bringing theatre into public space. ANSA.it, Gazzetta del Mezzogiorno, La Repubblica, TG2000, Radio Capital, Swiss RSI, ANSA Brazil and many others followed. And for the record: Fiorello praised it in La Pennicanza as an artistic case inspired by his Edicola Fiore, and Biagio Antonacci, on his tour in the Augustan amphitheatre of Lucera, made a “fact-finding” stop at the Teatro-Edicola singing the celebrated and nostalgic Iris in front of an audience certainly larger than the “six seats”. Francesco Gravino’s theatre company Foyer ’97 was not born yesterday: behind it lie the Teatro-Cantina of 2016, the underground theatre, and in 2011 a performance on the bell tower of a church in the centre of San Severo at 45 metres high. The Teatro-Edicola completes, in Gravino’s words, “the entire vertical extension of theatre: underground, street level, rooftop”. And it is preparing for its thirtieth anniversary in 2027 aiming to purchase the kiosk to make it permanent, exporting the “San Severo Model” to Rome, Lucca, and to the festivals of Santarcangelo and Todi. As with the GIO Festival, someone might dare to claim that it is merely a stunt, but when BroadwayWorld places you alongside the Los Angeles Opera House, the “Los Angeles Journa”l proposes you as a model for Hollywood, “Hollywood Beat Magazine” reads you through Grotowski and the “British Psychological Society” uses you to explain mirror neurones, it is no longer a stunt but an excellent artistic and academic positioning. To those who still whisper that Foggia and Capitanata are provincial, the answer is now written on two opposite and complementary fronts: on 5 June in Foggia a 138-year-old opera found the stage again at the Giordano ending up on BroadwayWorld; on 27 March in San Severo a 4-square-metre kiosk invented a stage that did not exist, ending up at Stanford, in Los Angeles, in Hollywood and in London. The periphery, when it has a precise idea, becomes the centre. Even with six chairs. Luciano Magaldi Sardella