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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

The author said Europe needed more pharmaceutical manufacturing capacity at home. In a message for the opening of Sandoz’s new biosimilars site in Lendava, they said investments like the facility could improve access to affordable medicines, create skilled jobs and make supply chains more resilient. https://t.co/8oxlpbLp2I #Pharmaceuticals #Biosimilars #Healthcare #SI

The Black Clover FR account - Season 2 - October 2026 estimated that the opening 3 used in the background was exceptional and said it gave them chills. It also featured Yuno as a significant rival and mentioned a highly anticipated rematch. https://t.co/AeZmOb6i4i #anime #op #rivalité (translated)

Among the Burning Flowers - The Roots of Chaos #0.2 by Samantha Shannon Rovina Cai (illustrator) With the awakening of fire-breathing wyrms, Among the Burning Flowers sees the first sparks of danger that threaten to consume the world in The Priory of the Orange Tree. Take your first steps into the epic. Yscalin, land of sunshine and lavender, will soon be ablaze. It has been centuries since the Draconic Army took wing, almost extinguishing humankind. Marosa Vetalda is a prisoner in her own home, controlled by her cold father, King Sigoso. Over the mountains, her betrothed, Aubrecht Lievelyn, rules Mentendon in all but name. Together, they intend to usher in a better world. A better world seems impossibly distant to Estina Melaugo, who hunts the Draconic beasts that have slept across the world for centuries. And now the great wyrm Fýredel is stirring, and Yscalin will be the first to fall . . . A story of human resilience in the face of dire circumstances, Among the Burning Flowers leads readers through the gripping and tragic events that pave the way for the opening of the million-copy bestseller The Priory of The Orange Tree.

Sander Sassen addressed Henri Bontenbal and wrote that he had been little visible for months, despite an earlier column by Sassen about his absence. According to Sassen, Bontenbal had published a long thread on October 7, in which he labeled Hamas a terrorist organization and reflected on the victims and the Jewish community. Sassen felt that Bontenbal had subsequently blurred the responsibility for the violence by talking about a chain of violence, the Israeli response, and civilian casualties. He also believed that Bontenbal had pointed to Benjamin Netanyahu's settlement policy as an obstacle to a two-state solution. Sassen argued that this approach equated Hamas's attack and kidnappings with Israel's response, thereby fueling antisemitism. Sassen also criticized Bontenbal's reference to an article in Trouw about Maoz Inon, who lost his parents to Hamas, and Aziz Abu Sarah, whose brother died in an Israeli prison. Sassen described their pursuit of reconciliation as hopeful but felt that Bontenbal presented this initiative as a serious way forward without giving sufficient attention to Hamas's persistence and objectives, according to him. He also stated that Hamas deliberately saddled Palestinian children with hatred for Jews. Sassen wrote that, in his opinion, Bontenbal offered false hope and insufficiently placed responsibility for Hamas's violence on the perpetrators. He claimed that Hamas and its supporters aimed for the destruction of Israel and stated that disarmament by Palestinians, in his view, would bring peace, while Israel's disarmament would lead to a new attack like the one on October 7. #Israël #Hamas #Antisemitisme (translated)

Today, at the COREPER level, the Hungarian side gave the “green light” to the negotiating positions on Cluster 2 “Internal Market,” and Cluster 3, “Competitiveness and Inclusive Growth.” Ukrainian Foreign Minister Andrii Sybiha thanked Hungary for its “green light” for opening the second and third clusters of EU accession negotiations with Ukraine, according to MTI. #EUAccession #UkraineHungaryRelations #MinorityRights (translated)

The last scout™ wrote that Minister Klempíř's appearance at the opening of the Frankfurt Book Fair attracted attention different from what the minister expected. He referred to a headline stating that the minister was booed at the fair. https://t.co/fuiCugOxYf #kultura #knižníveletrh #Frankfurt (translated)

The author criticized Frank Vandenbroucke and wrote that the minister had strongly defended the pension penalty during his inaugural lecture at UGent. Later, according to the author, Vandenbroucke said that people with a minimum pension were fully protected. The author wondered whether the minister was aware of the consequences of his policy. #pensioen #beleid #FrankVandenbroucke #BE (translated)

The author said Moldova had made remarkable progress towards EU membership and argued that the EU should now take steps to open accession clusters, which they said were crucial to sustaining reforms. They said they had stressed this point during a meeting in Chișinău with Deputy Prime Minister for European Integration Cristina Gherasimov. https://t.co/LLW23sUpYV #Moldova #EUMembership #EuropeanIntegration #MD #EU

Geert Dales wrote that the Israeli president, in his opinion, had not forgotten what happened on 10/3/24 in Amsterdam during the opening of the National Holocaust Museum. He stated that the mayor of Amsterdam had allowed pro-Hamas protesters at the museum and called that shameful. Dales wondered whether Jetten would accept the invitation to visit the site of the Nova festival. He did not expect him to and wrote that Kati Piri would not allow that. https://t.co/rBSQBymPJO #Holocaust #Amsterdam #Politiek (translated)

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