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"NEWS GARGANO": A KIOSK FOR A THEATRE: IN SAN SEVERO IT CAN BE DONE, AND ITS ECHO EXTENDS BEYOND ITALY SOURCE: https://www.newsgargano.com/unedicola-per-teatro-a-san-severo-si-puo-e-sconfina-litalia/ SAN SEVERO (FG) - Theatre in San Severo is reborn from less than two square metres and six chairs, transmuting a symbol of urban blight into a small international cause célèbre. The virtuous enterprise has been revived by the company Foyer '97, under the artistic direction of Francesco Gravino, protagonist of a project of cultural regeneration that is now transcending the confines of the Province of Foggia. At the heart of the intervention lies the reclamation of an abandoned newsstand in Via Tondi, for years a disused space and now restored to the city in an unprecedented guise. Where once there was a lowered shutter, theatre is now made: but six spectators at a time, actors at but a few paces from their audience, and performances of brief duration, in a direct and radical commerce between stage and city. The experiment, inaugurated on 27th March, has yielded figures that bespeak a tangible cultural need. More than sixty persons attended the performances in a single afternoon, and the three days of the inaugural season were sold out, demonstrating that proximity and quality may yet generate community even in the most residual of spaces. Yet the story of San Severo has swiftly outgrown its local boundaries. In September 2026, the Stanford Social Innovation Review dedicates to the project the reportage "The Six-Seat Revolution", authored by Luciano Magaldi Sardella, researcher, academic and international journalist from Orta Nova of Sanseverese maternal lineage. The work is described by SSIR as: "A theater director transformed an abandoned newsstand into a radically new theatrical experience that is helping to revive the historic center of a Southern Italian town." The Apulian experience is observed not merely for its theatrical originality, but as a replicable paradigm of low-cost social innovation and urban regeneration, capable of activating cultural capital without recourse to grand structures or lavish investment. "One does not require grand theatres to transform a quarter of a city. What is required is a sound idea and the courage to restore to the collectivity a space that has lost its function," emphasised the artistic director Francesco Gravino. "Teatro Edicola was conceived to demonstrate that a locus of encounter and culture may arise anywhere, even within two square metres. That this endeavour should now be studied at an international level, and that enquiries should arrive from cities such as Lucca and Rome, is confirmation that we are upon the right path." The valorisation and preservation of the urban and cultural fabric must inevitably proceed through the creative reclamation of forsaken places. From a derelict newsstand with scarcely six seats to a project capable of commanding international attention: sometimes, to regenerate a city, one need not build, but re-inhabit.

FROM THE STREETS OF SAN SEVERO TO THE "STANFORD SOCIAL INNOVATION REVIEW": "TEATRO EDICOLA" BECOMES AN INTERNATIONAL CASE STUDY SOURCE: https://www.sanseverocitta.it/dalle-strade-di-san-severo.../ SAN SEVERO (FG) - Six persons enter a newsstand. Before them there are no newspapers, periodicals, or tobacco, but rather a theatrical stage of less than two square metres. The actors stand but a few paces from the spectators, with scarcely any separation betwixt performer and beholder. It is thus that a place abandoned for years in San Severo hath been restored to life. And today that modest theatrical experiment hath come under the glare of international attention. This is the history of the Teatro Edicola, the project realised by the company Foyer '97, under the artistic direction of Francesco Gravino, which hath transformed a former newsstand in Via Tondi into one of the smallest stages hitherto conceived. The project commenced on 27th March last with a formula at once simple and singularly original: six seats, a most circumscribed scenic space, and performances of but a few minutes' duration. A minimal distance betwixt public and interpreters that doth wholly transfigure the traditional relation between spectator and theatre. The wager, however, was immediately rewarded by the public. More than sixty persons attended the performances in a single afternoon, and the three days of the inaugural season recorded a complete sold-out. From a local experiment, the Teatro Edicola hath thus become a case capable of attracting attention far beyond the confines of the Province of Foggia. In September 2026, the Stanford Social Innovation Review, the journal of Stanford University, shall publish upon its website and in its Fall 2026 print edition the reportage "The Six-Seat Revolution", authored by Dr Luciano Magaldi Sardella and overseen editorially by Deputy Editor David V. Johnson. The interest of the American review doth not concern merely the originality of the theatrical proposition. The Teatro Edicola is, indeed, observed as a potential exemplar of low-cost social innovation and urban regeneration. The notion is particularly compelling in a country such as Italy, wherein numerous newsstands have ceased their activity and risk becoming vacant interstices within the urban fabric. The question, at bottom, is simple: may a place born to vend newspapers become anew a locus of encounter? In San Severo the answer hath been entrusted to the theatre. The newsstand hath not been merely restored in corporeal terms. It hath changed its function, transmuting itself into a place wherein artists encounter the public directly and wherein the performance becometh part of the quotidian life of the street. "The theatre cometh into the street wherein thou walkest every day," explained Francesco Gravino, thereby synthesising the philosophy underpinning the project. And it is precisely this aspect which hath rendered the experiment compelling also upon the plane of its possible replicability. Initial requests for information have already arrived from other cities, amongst them Lucca and Rome, desirous of apprehending the model and the modalities for its realisation. The strength of the Teatro Edicola resideth also in its apparent disproportion: a minimal investment and space to produce a far greater cultural effect. There is no need for a grand theatre, an auditorium of hundreds of seats, or complex structures. An unused space, an idea, and the will to restore it to the community suffice. That former newsstand in Via Tondi, therefore, narrateth something that transcendeth theatre itself. It narrateth the possibility of reconceiving the spaces of our cities, restoring a social function to places that seemed to have lost it definitively.

“TEATRO EDICOLA” OF SAN SEVERO BECOMES AN INTERNATIONAL CASE STUDY IN THE “STANFORD SOCIAL INNOVATION REVIEW (SSIR)” — STANFORD UNIVERSITY SOURCE: https://l1nq.com/rruntbb LA GAZZETTA DI SAN SEVERO SAN SEVERO (FG) — Six persons enter a news kiosk. Before them lie no newspapers, magazines, or tobacco, but a theatrical stage measuring less than two square metres. The actors stand but a few paces from the spectators, with scarce any separation betwixt those who perform and those who behold. It is in this manner that in San Severo a place abandoned for years hath begun to live anew. And today that diminutive theatrical experiment hath fallen beneath the glare of international attention. It is the story of the “Teatro Edicola”, the project realised by the company Foyer ’97, under the artistic direction of Francesco Gravino, which hath transformed an old news kiosk in Via Tondi into one of the smallest stages ever conceived. The project commenced on 27th March last, with a formula as simple as it is original: six seats, a stage of most exiguous dimensions, and performances lasting but a few minutes. A minimal distance betwixt public and performers that doth wholly alter the traditional relationship betwixt spectator and theatre. The wager, however, was forthwith rewarded by the public. More than 60 persons attended the performances in a single afternoon, and the three days of the inaugural season registered a complete sold-out. From a local experiment, the “Teatro Edicola” hath thus become a case capable of attracting attention far beyond the confines of the Province of Foggia. In September 2026, the Stanford Social Innovation Review (SSIR), the journal of Stanford University, shall publish upon its website and in its Fall 2026 print edition the reportage “The Six-Seat Revolution”, authored by Dr Luciano Magaldi Sardella and edited by Deputy Editor David V. Johnson. The interest of the American review concerneth not merely the originality of the theatrical proposition. The Teatro Edicola is, in fact, observed as a potential paradigm of social innovation and low-cost urban regeneration. Become a Medium member The idea is particularly compelling in a country such as Italy, wherein numerous news kiosks have ceased their activity and risk becoming vacant interstices within the urban fabric. The question, at bottom, is simple: can a place born to sell newspapers become once more a locus of encounter? In San Severo, the answer hath been entrusted to the theatre. The kiosk hath not been merely restored in a physical sense. It hath changed its function, transforming itself into a place where artists encounter the public directly and where the performance becometh part of the quotidian life of the street. “The theatre cometh into the street wherein thou walkest every day,” Francesco Gravino hath explained, thus synthesising the philosophy underpinning the project. And it is precisely this aspect that hath rendered the experience interesting also upon the plane of its potential replicability. Initial requests for information have already arrived from other cities, amongst them Lucca and Rome, interested in learning of the model and the modalities for its realisation. The strength of the Teatro Edicola resideth also in its apparent disproportion: a minimal investment and space to produce a cultural effect far greater. There is no need for a grand theatre, an auditorium of hundreds of seats, or complex structures. An unused space sufficeth, together with an idea and the will to restore it to the community. That old kiosk in Via Tondi, therefore, recounteth something that goeth beyond the theatre. It recounteth the possibility of rethinking the spaces of our cities, restoring a social function to places that seemed to have definitively lost it.

Lo so. L’unica cosa della quale, ahimè, mi dispiaccio molto è che ho creato dei mostri social IMBARAZZANTI. Delle copie imbarazzanti, sbiadite. Addirittura c’è chi si è appropriato del mio scurrile linguaggio adoperato 6/7 anni fa. E il risultato, sai qual è stato? Molti credevano fossi io. Ma c’è una legge che non sfuggirà mai a nessuno: i numeri. I fatti. Non le chiacchiere. SPUD resterà per sempre la creatura più potente mai esistita. Anche se morto. ENJOY #SocialMedia #Creativity #Originality

V denním sloupku upozorňuje Harald Martenstein na opakující se fráze politiků při vzpomínkách na oběti násilí, které reflektují nedostatek skutečné empatie a originality v jejich proslovech, a kritizuje, že každé takové vyjádření zůstává prázdné a nevhodně generalizuje různé tragédie. #Martenstein #Gesellschaft #Meinungsfreiheit

The major problem with the incentive structure on many monetizable platforms is that they reward sharing and copying over creating which encourages people to reuse other people's creations and eventually kills off the primary reason for people to create content in the first #ContentCreation #IncentiveStructure #Originality #Nospecificcountrycodesarementionedinthetweet.

Pauline Black, zpěvačka kapely The Selecter, při návštěvě Prahy hovořila o důležitosti originality v hudbě, osobních zkušenostech s rasismem a vlivu jejího dětství na umělecké jméno, přičemž zdůraznila, že skládat písně pod vlivem drog není dobré, neboť kvalitní hudba vyžaduje jasnou mysl. #Ska #Rasismus #PaulineBlack

Článek se zaměřuje na historii kultovní hry Prince of Persia, jejíž revoluční prvky a příběhy, včetně zásadních titulů jako Sands of Time a Warrior Within, zásadně ovlivnily vývoj videoher a přispěly k moderním herním principům, přičemž tvůrce Jordan Mechner zdůrazňuje význam originality a kreativity v omezeních tehdejší technologie. #PrinceOfPersia #JordanMechner #Videohry

V článku se reflektuje rostoucí vliv umělé inteligence v oblasti kreativního obsahu a zábavy, přičemž se zdůrazňuje, že skutečná genialita není nezbytná pro úspěch v tomto odvětví, ačkoliv se obavy týkající se originality a lidskosti uměleckého vyjádření stále objevují. #InteligenciaArtificial #ContenidoGenerado #Entretenimiento

Umělá inteligence výrazně usnadňuje psaní a generování textů, ale její využívání může nenápadně měnit naše myšlení a názory, což vede k uniformitě a ztrátě originality ve veřejné debatě. Tento jev zvaný mcdonaldizace může mít i neurologické důsledky, neboť oslabuje aktivitu mozkových sítí spojených s pamětí a soustředěním a maže jazykové stopy, které jsou klíčové pro diagnostiku nemocí, jako je Alzheimerova choroba. #UměláInteligence #Kreativita #Rozmanitost

How to Choose the Best Image for Your Medium Story <p>Unsplash is a great resource. But ever since its partnership (and embedded search-and-insert tool in the editor) with Medium in February 2018, it seems everybody is using it.</p><p>Is that good?</p><p>As a writer, if you do exactly what everyone else is doing, your voice will be lost in the crowd.</p><p>“It is better to fail in originality than succeed in imitation.”</p><p>— Herman Melville, novelist</p>

Good Design Can Copy <p>The ambitious are not content to <strong>imitate</strong>. This growth of taste is a conscious attempt at originality.</p><p>The greatest masters go on to achieve a kind of selflessness. They just want to get the right answer, and if part of the right answer has already been discovered by someone else, that's no reason not to use it. They're confident enough to take from anyone without feeling that their own vision will be lost in the process.</p>