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Certainly – said Valditara – the percentage of foreign students in the schools of Monfalcone and in some areas of Friuli Venezia Giulia is very high, but it is not true that we deport students. This is a colossal fake news, it is not true that we split classes, because it refers to new arrivals during the school year. The principals have told me that there are many new enrollments during the year who do not know our language. “Certainly – said Valditara – the percentage of foreign students in the schools of Monfalcone and in some areas of Friuli Venezia Giulia is very high, but it is not true that we deport students. This is a colossal fake news, it is not true that we split classes, because it refers to new arrivals during the school year. The principals have told me that there are many new enrollments during the year who do not know our language.” #Scuola #Integrazione #AlunniStranieri (translated)

The Minister of Education Giuseppe Valditara has declared that only 0.13% of classes in Italy, less than 500 out of 369,000, will be subject to the 30% cap on foreign students, rejecting accusations of deportation and emphasizing the difficulties of integration in communities. #Scuola #Integrazione #AlunniStranieri (translated)

The high school students' protest movement, supported by a majority of French people, focuses on the demand for smaller class sizes and the renovation of schools, while blockades and demonstrations are planned for this week, including a fifth act next Tuesday. #Lycéens #Mobilisation #Éducation (translated)

"The Congress has been clear: the United States should not import oil from Russia as long as it has not put an end to its aggression against Ukraine and stopped making threats against our NATO allies," wrote these senators, including Democrat Jeanne Shaheen and Republican Thom Tillis. #DieselRusse #Trump #Ukraine (translated)

The Congress has been clear: the United States should not import oil from Russia as long as it has not ended its aggression against Ukraine and ceased making threats against our NATO allies," wrote these senators, including Democrat Jeanne Shaheen and Republican Thom Tillis. #DieselRusse #Trump #Ukraine (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

Katja Kokot wrote that the right is financing the campaign with party funds and defends its positions with party members, while the Left is said to be using not only party money but also funds from non-governmental organizations, including millions from abroad, which she referred to as "Soros money." She added that the Left is also defending its positions with the support of non-governmental activists and public RTV. She asked whether this is still democracy or a competition of capital and power against common sense. She described the map of the referendum results on the amendment to the law on parliamentary inquiry as a representation of that common sense; according to her explanation, the dark blue areas voted against, while the light blue ones voted in favor. She also mentioned that at her home polling station and the surrounding ones, about 70 percent of votes were in favor of all four questions. In this context, she wondered where Slovenia is headed and whether power would belong to foreign capital, and wrote that the nation would write its own judgment. #demokracija #Slovenija #referendum (translated)

POPTime reported that Renata Saldanha, the winner of BBB24, responded to a follower who referred to Bolsa Família as "Welfare Fund." According to the publication, Renata stated that the benefit helps thousands of families with financial conditions different from those of the follower and expressed happiness that the follower does not need the assistance. https://t.co/Ix5nRVYk1T #BBB24 #RenataSaldanha #BolsaFamília (translated)

Mexican President Claudia Sheinbaum warned residents of the Pacific coast about the approaching hurricane Simon, which reached Category 4 with wind speeds of up to 230 km/h, and urged them to stay home due to the looming destructive winds, flooding, and other hazardous conditions. #hurikán #Mexiko #povodeň (translated)

Pepe Del Bosque pointed out that Pumas had signed their best half hour of the tournament before a red card affected the match. According to what he wrote, in the 25th minute the team had scored two goals, taken advantage of the spaces from Cruz Azul, and created two other dangerous chances with Antuna and Juninho. He added that 'Chino' Huerta, who was sent off, had been decisive by assisting, scoring, and saving a goal. Del Bosque indicated that, with one player less, Robert Morales' 3-1 had prevented Pumas from losing and considered the adjustment to the "5-3-1" scheme correct, despite a mistake by Orozco. He also mentioned a counter from Antuna that could have turned into a 4-1. Regarding Cruz Azul, he highlighted the entry of Andrés Montaño: in addition to scoring the 3-2, he had provided five key passes, according to the author. #Fútbol #Pumas #CruzAzul (translated)

Miguel Angel Briseño praised Palavecino's performance and said that Montaño had entered with precision and clarity of mind. He also placed Campos among the top three in the tournament and valued the performances of Ebere and Calero. On the other hand, he rated Charly's level as very low and pointed out that he had not influenced the game as in other matches. Regarding the defense, he criticized Chiquete for losing a ball that, according to Briseño, should have been secure, and described the errors as glaring. #Fútbol #Deportes #Liga (translated)

Pérez Llorca has obscured the clarity regarding his representation expenses in the fixed cash of the Generalitat after a modification of the Transparency Law, making it difficult for citizens to access this information. #Transparencia #GastosPúblicos #PolíticaValenciana (translated)

The declassified files from World War II reveal that the lehendakari José Antonio de Aguirre collaborated with British intelligence, instructing his vicelehendakari Leizaola in clandestine activities and the sending of funds to support the fight against Nazism. #HistoriaVasca #Espionaje #SegundaGuerraMundial (translated)