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José Morón wrote that Jódar's victory over Lehecka, achieved after a comeback, was the Spaniard's best in two months, since his outstanding tournament in Canada. He added that he could face Fils again, whom he had defeated in their last two matches, and noted that the victory was a significant boost of confidence for Rafa heading into the Finals. He also expressed his joy at Jódar's level of play. #Victoria #Tenis #RafaNadal (translated)

JODARISMO EN VENA reported that Rafa Jódar had defeated Jiri Lehecka in 2 hours and 40 minutes, 4-6, 7-6, and 6-4, on Hispanic Day. The author noted that Jódar had suffered and clung to the match, and that his level had improved as it went on. He also described the match as a spectacle and celebrated that Jódar had reached the round of 16 in Shanghai, "for Spain." https://t.co/l3g7AprrSn #Tenis #Hispanidad #Victoria (translated)

The author praised the beauty and quality of the movements displayed in the Amici final. She added that, instead of discussing who had taken something away from the other, it should be acknowledged that both had been extraordinary. https://t.co/EVYeKhxxrf #Amici #Talento #Bellezza (translated)

Daniele Mari reported that Bergomi considered the starting lineup of Inter quite clear in case of a Champions League final, but believed that the team should continue to rotate players throughout the season, more than in the past. According to Bergomi, Pio Esposito was no longer just a young promise: he was a starter for the National team and could be considered the third starter of Inter, to the point that Lautaro could remain out. He added that the three English players had not yet contributed to the team and that Inter still relied on the players from last season, who, in his opinion, were doing very well despite being a year older. #Inter #ChampionsLeague #SerieA (translated)

Patria Prima argued that a rule signed by ANRE on October 9 would allow energy suppliers, starting in 2027, to dismiss complaints if they believe they contain inappropriate language or do not sufficiently describe the situation. The author stated that the rule does not define these terms and leaves the decision to the discretion of the complained firm. As examples, Patria Prima mentioned clients who contest a much larger bill or do not know how to explain why it seems incorrect to them. In the author's opinion, their complaints could be dismissed without the supplier checking the issue. Patria Prima also said that ANRE applies a similar rule to itself from 2024, which would allow the institution to ignore complaints about suppliers. The author claimed that the provision did not appear in the draft submitted for public debate and was introduced in the final form without ANRE specifying who requested it and why. Patria Prima stated that it had filed a complaint with ANRE and requested the cancellation of the rule, and if it is not withdrawn within 30 days, it will go to court. It also urged the public to share the information. #energie #ANRE #facturi (translated)

Froilán / Barrio Sauna described a news article published on the Day of Hispanicity as interesting and stated that, unlike Hernán Cortés, Pizarro, and Cabeza de Vaca, who brought gold from America centuries ago, the members of the PSOE had done it four or five years earlier, but for their own pockets and not for the country. https://t.co/H1NSX168qC #DíaDeLaHispanidad #PolíticaEspañola #Historia (translated)

Tino explained that writing his book, "100 Tips for Successful Investing," had been one of the most difficult trials of his life. For nearly ten months, his perfectionism had, according to him, caused him doubts, frustrations, short nights, and sometimes tears. He added that the project had also weighed on his health and his private and family life. His partner, with whom he had shared his life for nearly fifteen years, had to accept his absences and the fact that writing sometimes took precedence over their life together, he wrote. Since finishing the book, he had been trying to reconnect with her over the moments that were set aside, while acknowledging that lost time could not really be made up. As the book was meeting with greater success than he had expected, Tino wanted to pay tribute to his partner, believing that without her support, the work probably would not have come to fruition. #Écriture #Amour #Sacrifice (translated)

"strengthen the Lebanese Armed Forces and the ability of the Lebanese state to ensure security throughout its territory" Kaja Kallas has already pointed out that the aim of this new mission — supported by Portugal and which should be deployed before the end of the year — is not to replace UNIFIL, which aims to ensure peacekeeping in the country, but rather "to strengthen the Lebanese Armed Forces and the ability of the Lebanese state to ensure security throughout its territory." #UniãoEuropeia #SançõesRussas #GuerraNaUcrânia (translated)

In the final stretch of the elections, the Spanish government is preparing to announce an increase in the Minimum Interprofessional Salary (SMI) and the revaluation of pensions, coinciding with inflationary pressure and seeking to benefit more than 1.6 million workers and 9.5 million retirees. #SalarioMínimo #Pensiones #Elecciones2026 (translated)

The Council of the Valencian Generalitat, led by Juanfran Pérez Llorca, has accelerated the implementation of labor improvements for officials and public employees, including the reduction of the workweek to 35 hours and salary increases for teachers and firefighters, as part of its strategy in the final stretch of the legislature before the elections. #MejorasLaborales #EmpleadosPúblicos #Valencia (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

José Ramón Fernández wrote that the match between Pumas and Cruz Azul was the best of the day, with intensity, goals, and excitement until the end. He considered that Pumas had been superior, but that the expulsion of Chino Huerta, which he described as harsh, changed the match and allowed Cruz Azul to salvage a 3-3 draw. https://t.co/GLoXT1GXo5 #Fútbol #LigaMX #Pumas (translated)

Raisa Simplicio reported that a tomography identified two fractures in the jaw of defender Danilo. According to her, a specialized evaluation indicated surgery, which the player agreed to. Danilo was discharged from the hospital, and the procedure was scheduled for Monday (12) at the end of the morning, with maxillofacial surgeon Gustavo Machado and the accompaniment of Flamengo's doctors Fernando Sassaki and Luiz Macedo. #Danilo #Flamengo #Cirurgia (translated)