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AFRICA DAILY REPORT — 11 OCTOBER 2026 Key developments of past 24h 1. SUDAN — Drone strike on displaced civilians: reported death toll rises to 41 IMPORTANCE: 10/10 — CRITICAL Emergency Lawyers reported that a drone strike on displaced people in Abu Shandi, Blue Nile state, killed 41, including eight children. The group blamed the RSF, which had not commented. The toll is not independently verified. Source: https://apnews.com/article/sudan-war-rsf-military-6cb2c34499234e9bcd33c3c9b49521da 2. ETHIOPIA–ERITREA — Eritrea appeals to UN Security Council Eritrea asked the Security Council to take deterrent measures against Ethiopia and denied Ethiopia's allegation of an Eritrean incursion. Ethiopian troops and allies entered Adigrat, according to residents and Reuters-verified footage. The alleged incursion has not been independently verified. Source: https://www.reuters.com/world/africa/ethiopian-forces-regain-control-border-city-after-reported-eritrean-incursion-2026-10-10/ 3. KENYA — Authorities expand Ebola awareness campaign IMPORTANCE: 9/10 — VERY HIGH Kenya's health ministry asked churches and faith organizations to raise awareness about Ebola symptoms and early reporting. The campaign follows a fatal imported case from DR Congo; authorities continue tracing contacts and strengthening screening. Source: https://www.africanews.com/2026/10/10/kenyan-health-ministry-urges-churches-to-raise-awareness-about-ebola/ 4. MALAWI — Fuel shortages disrupt transport and commerce IMPORTANCE: 9/10 — VERY HIGH Motorists in Lilongwe have queued for days for petrol, disrupting commuting, schooling and business. The latest reporting did not establish when supplies would normalize. Source: https://www.aljazeera.com/video/newsfeed/2026/10/10/malawi-motorists-queue-for-days-as-fuel-shortage-bites 5. DR CONGO — President presses AU mediators for implementation of peace commitments President Felix Tshisekedi met AU mediators in Kinshasa after consultations in Goma and Kigali, calling for concrete implementation of Washington and Doha peace commitments. No new ceasefire agreement was announced. Source: https://presidence.cd/actualite-detail/actualite/le_chef_de_letat_a_recu_le_panel_des_facilitateurs_de_lunion_africaine 6. SOUTH AFRICA — Police reinforce security after anti-migrant violence IMPORTANCE: 9/10 — VERY HIGH Police increased their presence in Johannesburg and Durban after anti-migrant demonstrations, vehicle burnings and looting. The unrest was partly fuelled by misinformation about an asylum court ruling. Source: https://www.africanews.com/2026/10/10/heightened-security-at-anti-immigrant-hotspots-in-south-africa/ 7. MAURITANIA — Prime minister reappointed following resignation over electricity failures The prime minister was reappointed after resigning amid findings about fires at Nouakchott substations and prolonged power outages. Investigators cited deficiencies in maintenance, protection and emergency management. Source: https://www.africanews.com/2026/10/10/mauritanian-pm-reappointed-hours-after-resignation-over-power-outages/ 8. DR CONGO — Joseph Kabila criticizes government and security situation Former president Joseph Kabila accused the authorities of governance failures and criticized the handling of the eastern Congo conflict. These were his political allegations, not independently established findings. Source: https://www.africanews.com/2026/10/10/former-dr-congo-president-says-the-country-is-in-peril/ 9. MOROCCO — King calls for greater emphasis on youth opportunities King Mohammed VI urged greater focus on education, employment, skills and inclusion following youth-led demonstrations. He also called for revised cooperation with Spain on migration. Source: https://www.africanews.com/2026/10/10/moroccan-king-says-youth-issues-must-be-at-forefront-of-policy-agenda/ 10. KENYA — Erratic rainfall pressures farmers' finances and mental health IMPORTANCE: 7/10 — HIGH Farmers in Nyeri report losses from unpredictable rainfall and dry spells. Local specialists highlight growing stress and anxiety, while advocating climate-smart agriculture, irrigation and mental-health support. Source: https://www.africanews.com/2026/10/10/unreliable-weather-creating-mental-health-issues-for-kenyan-farmers/ #Africa #AfricaNews #AfricaDailyReport #TopNewsOfAfrica #AfricaToday #DRCongo #Rwanda #FelixTshisekedi #AfricanUnion #AUMediators #PeaceProcess #PeaceNegotiations #PeaceAgreements #EasternCongo #M23 #Goma #Kinshasa #Diplomacy #Morocco #KingMohammedVI #GenZ #YouthOpportunities #YouthEmployment #Education #YouthEmpowerment #YouthProtests #SocialDevelopment #MigrationPolicy #Sudan #SudanWar #BlueNile #DroneStrike #CivilianCasualties #DisplacedPeople #RSF #HumanitarianCrisis #WarCrimes #Ethiopia #Eritrea #Tigray #Adigrat #HornOfAfrica #UNSecurityCouncil #RegionalSecurity #Kenya #Ebola #PublicHealth #DiseasePrevention #HealthAwareness #Malawi #FuelShortages #EnergyCrisis #SouthAfrica #AntiMigrantProtests #Xenophobia #MigrationCrisis #Disinformation #Mauritania #PowerOutages #JosephKabila #ClimateChange #KenyanFarmers #FoodSecurity #AfricanPolitics #Geopolitics #AfricaSecurity #HumanRights #AfricanDevelopment #WRLDorg

Louis Boyard wrote that the youth had had enough, like the rest of the country. He reminded that students had been queuing for years to receive food supplies and that high school students were denouncing their study conditions. He believed that the youth were setting an example and called on all French people to join them and strengthen the mobilization. #jeunesse #mobilisation #solidarité (translated)

The author estimated that the long lines in front of certain TOTAL stations, where fuel could run out in less than 24 hours, gave the impression that they had won the game. He added that filling up at 2.25 euros had become a good deal, despite nearly 60% in taxes. #carburant #taxes #stationservice #FR (translated)

Africa Daily Report — 30 September 2026 Major developments reported during the previous 24 hours. 1. Morocco — Fatima Ezzahra El Mansouri appointed first woman prime minister. King Mohammed VI appointed El Mansouri following the September 23 parliamentary election. Her Authenticity and Modernity Party won the largest number of seats, and she now has to form a coalition. The appointment is historic, while the next government will also inherit major economic reforms and preparations for the 2030 World Cup. Direct source: https://www.reuters.com/world/africa/moroccos-king-appoints-first-woman-pm-following-sept-23-election-2026-09-29/ 2. Ethiopia — Fighting intensifies around Tigray amid wider regional accusations. Fighting between federal and Tigrayan forces has escalated, with territorial shifts and concern that the conflict could again spread across northern Ethiopia. Ethiopian officials have accused regional rivals of supporting armed groups, while communications disruptions and displacement are complicating independent assessment and humanitarian access. The renewed conflict threatens the fragile post-2022 settlement. Direct source: https://www.aljazeera.com/news/2026/9/29/fighting-in-ethiopia-intensifies-whats-the-latest 3. Somalia/Puntland — Five tanker crew members killed in piracy incident. Puntland authorities said Somali pirates killed five crew members of the petroleum-products tanker MT Honour 25 before security forces rescued the hijacked vessel. The incident is a serious reminder that piracy remains an operational security threat off the Horn of Africa despite years of international maritime-security efforts. Importance: HIGH — maritime security and Red Sea/Indian Ocean trade routes. Direct source: https://www.reuters.com/world/africa/somali-pirates-killed-5-crew-members-hijacked-tanker-before-rescue-mission-2026-09-29/ 4. Kenya/Nigeria — Dangote advances $16 billion Lamu refinery. Dangote is moving ahead with the planned 700,000-barrel-per-day refinery at Lamu. The project is intended to reduce East Africa's dependence on imported refined fuels and could generate more than 50,000 jobs, but it faces infrastructure, environmental and land-rights challenges. A Kenyan court dispute could restrict some site activity pending an October 14 hearing. Importance: VERY HIGH — potentially transformative for East African energy supply, fuel imports, logistics and industrial development. Direct source: https://www.reuters.com/business/energy/dangote-begin-construction-16-billion-east-africa-refinery-kenya-2026-09-30/ 5. South Africa — Foreign direct investment more than doubles in Q2. South Africa's central bank reported FDI inflows of 49.8 billion rand in the second quarter, up from 20.3 billion rand in Q1. The increase is an encouraging investment signal, although it needs to be considered alongside the country's broader growth, fiscal and structural indicators. Importance: HIGH — investment flows are a key indicator for Africa's most industrialised economy. Direct source: https://www.reuters.com/world/africa/south-africas-foreign-direct-investment-inflows-pick-up-q2-2026-09-29/ 6. Ghana — Environmental regulator intensifies mining-sector enforcement. Ghana's Environmental Protection Authority issued a pre-closure notice to Chinese-owned Cardinal Namdini Mining over an alleged unreported incident and is reviewing an inspection of Gold Fields' Tarkwa operation. The regulator says it is moving from periodic inspections toward continuous monitoring and enforcement as Ghana seeks stronger environmental compliance, state revenue and local participation in its gold industry. Importance: HIGH — regulatory tightening can materially affect major international mining investors and Ghana's gold industry. Direct source: https://kfgo.com/2026/09/29/exclusive-ghanas-environmental-authority-targets-chinese-owned-cardinal-and-others-in-mining-crackdown/ 7. DR Congo — Annual audits of major miners planned from 2027. The DRC plans annual audits of major mining companies' subcontracting practices and compliance with local-content requirements beginning in 2027. The world's largest cobalt producer and Africa's leading copper producer is tightening oversight to direct more procurement and contracts toward Congolese-owned businesses. Importance: HIGH — potentially significant for global copper/cobalt supply chains and mining contractors operating in DRC. Direct source: https://ca.marketscreener.com/news/congo-to-audit-major-miners-annually-from-2027-as-part-of-local-content-drive-regulator-says-ce785adddc81f221 8. Tunisia/Mediterranean — Migrant shipwreck leaves at least two dead. Sea-Watch said it rescued 28 people after a shipwreck off Tunisia and recovered two bodies, including a child. Survivors reported at least six people missing, including three children. More than 1,970 people have died or gone missing attempting Mediterranean crossings in 2026, according to Sea-Watch, even as arrivals in Italy have fallen sharply from 2025. Importance: HIGH — migration, humanitarian protection and EU–North Africa policy remain closely linked. Direct source: https://www.straitstimes.com/world/europe/migrant-shipwreck-off-tunisia-leaves-at-least-two-dead-six-reported-missing 9. Guinea-Bissau — Ousted president plans return ahead of December election. Former president Umaro Sissoco Embalo, removed in the November 2025 coup, plans to return on October 4 and seek the presidency in elections scheduled for December 6, according to a source cited by Reuters. A recently approved constitutional residency requirement could become relevant to his eligibility. The military-led authorities have reportedly said he is welcome to return. Direct source: https://kfgo.com/2026/09/29/ousted-guinea-bissau-leader-to-run-in-december-election-source-says/ 10. Sudan — Currency collapse brings fuel queues back to Khartoum. Long fuel queues have returned in Khartoum and several other areas as the Sudanese pound reportedly weakened beyond 8,000 to the US dollar on the parallel market. The currency deterioration is adding to transport and commodity pressures in an economy already devastated by war and disrupted production and trade. Importance: VERY HIGH — the currency/fuel shock compounds Sudan's humanitarian and economic crisis. Direct source: https://sudantribune.com/article/319408 #TopNewsOfAfrica #Africa #AfricaNews #AfricaDaily #Morocco #FatimaEzzahraElMansouri #WomenInLeadership #FirstWomanPrimeMinister #MoroccanPolitics #NorthAfrica #Kenya #Nigeria #Dangote #LamuRefinery #EastAfrica #EnergySecurity #RefineryProject #IndustrialDevelopment #Infrastructure #Investment #Somalia #Puntland #Piracy #MaritimeSecurity #HornOfAfrica #ShippingSecurity #IndianOcean #RedSea #AfricanEconomy #AfricanSecurity #Geopolitics #wrldorg

La raison du REFUS MDRRRRRRRRRRRRRRRRRR Je vous préviens, ça a duré 5 minutes : on a réussi à récupérer les logs et donc à comprendre ce qu’il s’est passé dans les locaux de VALVE. ( KEKW ) Deux testeurs se sont connectés sur SPAM. Le premier joueur a créé un deck, lancé ses 3 premières games contre les bots, puis a lancé une recherche en partie normale… et n’a trouvé personne. (Normal, le jeu n’est pas sorti ). Inquiet, il envoie une invitation de défi à son collegue qui n'abouti à rien. Attention on passe au deuxieme testeur a.k.a la pépite : Le second testeur s’est connecté, n’a pas créé de deck et a directement appuyé sur le bouton « Jouer ». Évidemment, sans deck créé, le bouton « Jouer » est grisé. Il annonce donc que la queue ne marche pas. Il a ensuite reçu une demande de défi de son collègue, qui a automatiquement été refusée quand elle est apparu sur son écran… normal puisqu’il n’avait toujours pas de deck. Le rapport annonce donc un refus parce que le mode Défi ne fonctionne pas et que le matchmaking en ligne ne fonctionne pas non plus. --------------------------------------------------- Bon, déjà, j’ai forcément UNE question qu'on à tous : ILS SE PARLENT ENTRE EUX AU BOULOT OUUUUUUUUUUUUUUU ? 😭 Comment y’en a un qui se fait 3 games de 10 minutes pendant que l’autre bave sur le bouton « Jouer » sans comprendre pourquoi il est grisé ? J'ai pas les mots en fait. On est vraiment DE-GOU-TÉ ! Dans tous les cas, j’imagine que pour chaque compte vierge, on AURAIS du mettre automatiquement un deck de départ avec les 4 starters, on a donc forcement une grosse part de responsabilité mais bon, ca reste très dur mentalement. Désolé de ne pas avoir été précautionneux, le build a été renvoyé DIRECT avec un peu de chance on repart pas pour 5 jours ouvrés ET on espère que DYLAN va s'amuser avec son deck AUTOMATIQUE de 4 STARTERS ! Désolé encore et encore.. 🩶 #JeuxVidéo #DéveloppementJeu #Valve

Dans un système communiste, le chômage est officiellement inexistant: l’État garantit un emploi à chacun. Tout est censé être accessible à tous, enfin, presque. En revanche, ton salaire peut être extrêmement faible et ton pouvoir d’achat limité. Le problème ne s’arrête pas là. Lorsque l’État planifie l’économie, il décide largement des prix, des quantités à produire et de la répartition des ressources, plutôt que de laisser l’offre et la demande jouer leur rôle. Imagine toi: tu es un citoyen communiste vivant dans ce fameux "paradis communiste". Tu as un logement à loyer très faible, des soins médicaux largement pris en charge par l’État et un emploi garanti. Mais tu gagnes peu d’argent aux alentours de 30-50 euros mensuel, puisque cela te servira à rien, tout est presque gratuit. Un jour, tu veux simplement acheter du beurre. L’État bloque les prix et fixe le prix du beurre à 0,10 euros. Tout le monde peut donc se le permettre. Résultat: la demande explose. Mais si les producteurs n’en fabriquent pas suffisamment, les stocks s’épuisent. Dans une économie de marché, lorsque la demande dépasse l’offre, le prix tend à augmenter. Cela peut réduire la demande et inciter les producteurs à augmenter leur production. Dans une économie où les prix sont fixés administrativement, le prix peut rester artificiellement bas malgré le manque de produits. C'est tout le paradoxe d'un système communiste: le beurre est bon marché, mais tu ne peux pas en trouver. Tu as donc le choix: repartir les mains vides, attendre le prochain approvisionnement ou faire la queue pendant des heures avec ton carnet de rationnement chiffonné par le désespoir pour obtenir un produit aussi banal qu’une plaquette de beurre. Les biens plus rares, certains vêtements, appareils électroménagers, voitures, meubles ou produits importés, tu peux aussi les oublier, ce ne seront que des rêves. Et ça, c’est sans même parler du contrôle politique. La liberté d’expression, la liberté politique et la liberté économique seront fortement limitées. Critiquer le régime pourrait avoir de lourdes conséquences pour toi, tandis que la propriété privée et l’entrepreneuriat seront extrêmement encadrés et limitées. https://t.co/jlUOHozO2v #communisme #économie #liberté

ET SI UNE PANNE D'INTERNET ÉTAIT NOTRE MEILLEUR AVENIR? Petite réflexion ironique sur ce qu'une coupure de réseau pourrait nous apprendre sur nous-mêmes Imaginez la scène. Une éruption solaire d'ampleur exceptionnelle, un cyberévénement majeur, ou plus prosaïquement une panne géante de satellites : internet s'effondre, les réseaux sociaux s'éteignent, les smartphones deviennent de simples cailloux lumineux inutiles. Combien de temps avant que nous redécouvrions... nos voisins ? Le laboratoire involontaire des catastrophes Ce n'est pas de la pure science-fiction. Les sociologues qui étudient les grandes pannes de courant, les catastrophes naturelles ou les confinements ont observé un phénomène récurrent et fascinant : dans les heures et les jours qui suivent, on assiste souvent à un regain spectaculaire de solidarité spontanée. On sort sur le pas de la porte. On demande à l'inconnu du dessus s'il a de la lumière. On partage sa réserve d'eau, ses bougies, ses informations. La queue à la boulangerie, d'ordinaire un non-lieu silencieux où chacun fixe son écran, redevient un espace de parole. C'est comme si, privés de l'alternative confortable du monde numérique, nous retrouvions d'un coup de vieux réflexes sociaux qu'on croyait éteints. Le lien ne serait donc pas mort — simplement mis en veille, faute d'être sollicité. Le confort comme ennemi du lien Il y a là un paradoxe cruel : ce n'est pas que nous ayons perdu la capacité de faire société, c'est que nous disposons en permanence d'une échappatoire plus simple. Pourquoi affronter l'inconfort d'une conversation avec un inconnu, le risque d'un silence gênant, l'effort d'une rencontre imprévisible, quand on peut se réfugier dans le flux rassurant et sans surprise de son fil d'actualité ? Le numérique n'a pas supprimé notre besoin de lien — il a simplement rendu son évitement extraordinairement facile. Et comme tout organe qu'on cesse de faire travailler, notre "muscle social" s'atrophie doucement, sans qu'on s'en aperçoive vraiment, jusqu'au jour où une panne généralisée nous oblige à le réactiver en urgence. Faut-il attendre le cataclysme ? Rassurons-nous : il existe heureusement des formes plus douces, et surtout volontaires, de reconnexion. On voit ainsi fleurir depuis quelques années les tiers-lieux, ces espaces hybrides entre café, bibliothèque et atelier partagé, conçus justement pour recréer du lien de proximité. Les jeux de société connaissent un retour en grâce inattendu chez les jeunes adultes. Les "digital detox", ces périodes volontaires de déconnexion, se multiplient, preuve que le besoin est bien identifié, même s'il reste difficile à satisfaire sans un minimum de contrainte extérieure. Bref c'est pas gagné! Il y a une forme d'humour noir à imaginer qu'il faille une catastrophe cosmique pour nous rendre notre humanité relationnelle. Mais peut-être n'avons-nous pas besoin d'attendre le soleil : il suffirait, plus modestement, de réapprendre à laisser volontairement notre téléphone dans notre poche, de temps en temps, pour voir si le monde autour de nous n'a pas, finalement, beaucoup plus à offrir que notre fil d'actualité. Une chose est sûre : en cas de panne générale, la boulangerie et le bistro du coin risquent de redevenir, l'espace d'un instant, le plus grand réseau social du quartier, à condition de se chauffer au bois.

annonce officielle alors comme la soloq veut nous bz avec ses temps de queue interminables, ses lobbys défectueux et ses écarts de lp aussi gros que le zizi de jazon, j’ai donc pris une décision. à partir de maintenant la peur doit changer de camp. nous avons un but. traumatiser la soloq elle-même. jeter l’anneau de sauron dans les flammes de la montagne du destin. c’est pour ça qu’à partir d’aujourd’hui je vais adopter un nouveau gameplay. un gameplay qui me fera sûrement ban d’ici quelques jours. mais c’est pour la bonne cause. c’est soit nous, soit la soloq. #gaming #SoloQ #LeagueOfLegends

JUSTICE FOR SERBIA 🇷🇸 Serbia’s students and citizens are showing that intimidation cannot kill the demand for freedom, democracy and rule of law. According to reports from Serbia, attempts to obstruct signature collection only produced more solidarity, longer queues and renewed https://t.co/M5yHxXHiZU #JusticeForSerbia #Freedom #Democracy #RS

🚨 GTA 6 était tellement réaliste que Rockstar a dû supprimer certaines mécaniques pour ne pas rendre le jeu trop chiant ! À l’origine, les joueurs devaient parcourir les rayons un par un, faire la queue et passer à la caisse pour acheter leurs provisions 💀 Mais cette mécanique a finalement été retirée, car les joueurs sont censés faire régulièrement leurs courses pour se ravitailler… #GTA6 #RockstarGames #Gaming

PORTAL-ANALITIKA.ME publishes the “Edicola Teatro” of Foyer ’97, Founded by Francesco Gravino of San Severo, Puglia, Italy SOURCE: https://www.linkedin.com/pulse/portal-analitikame-publishes-edicola-teatro-foyer-97-sardella-ph-d--6i2of/ The format devised by the Pulgian theatre company Foyer ’97 — already described as “the smallest theatre in the world” — has now reached the international stage through its feature on the global platform Europe Says. A story born from an abandoned news kiosk in the province of Foggia is now crossing every conceivable boundary. It is a genuine pleasure and an honour to share the brilliant idea of the artistic director of Teatro ’97, the distinguished actor and director from San Severo, Francesco Gravino, and his remarkable theatre company, as they gain international visibility with this marvellous and innovative creation: a true “Teatro Edicola”. Source: https://www.portalanalitika.me/clanak/na-drugoj-obali-jadrana-otvoreno-najmanje-pozoriste-na-planeti Only a few square metres, six chairs, and the passion of a theatre company are enough to make history. The Edicola Teatro, conceived by Francesco Gravino, Artistic Director of the historic San Severo-based company Foyer ’97, is receiving significant media recognition, “taking to the stage” of leading national and international outlets thanks to his talented intuition, inspired by Edicola Fiore, the celebrated format created by the Italian entertainment icon Rosario Fiorello. An abandoned kiosk, a record‑breaking theatre It has already been dubbed “the smallest theatre in the world” and, with merely six seats, may well aspire to a Guinness World Record. Since its launch a few days ago, the original venue has drawn hundreds of curious visitors who queued to attend the performances—scheduled every fifteen minutes—inside a former abandoned news kiosk in San Severo, in the province of Foggia. The initiative stems from the distinctive vision of the long‑established San Severo company Foyer ’97, led by Gravino, who sought to celebrate World Theatre Day with an unprecedented experiment that has already been widely reported by national‑level media. The idea, seemingly simple in its striking essentiality, in fact conceals a profound reflection on the nature of theatrical practice. “The idea of the smallest theatre in the world was born from a creative provocation: to return theatre to its most direct essence. Together with the company, we asked ourselves how far the space could be reduced without losing intensity, and the kiosk became the perfect symbol: a place that suddenly transforms into a stage. From a space of news to a space of emotions,” Gravino explained. Foyer ’97 has been active since 1997 and is based in San Severo. Next year it will celebrate its thirtieth anniversary—an occasion approaching at the moment of greatest visibility in its history. The format: sixteen giants of literature in fifteen minutes With only six seats available at a time and performances following one another every fifteen minutes, the audience is quite literally immersed in the work. From 11:00 to 20:45, eleven actors alternate in bringing to life the giants of literature: from Goldoni to Chekhov, via the wit of Gaber and the dramatic force of Euripides. Inside the small theatre carved out of the disused kiosk owned by Mr Pino Grau, there is no traditional separation between stage and auditorium; instead, an intimate encounter takes place in which spectators and actors become, in effect, a single entity. Admission is free, reflecting Gravino’s aim: to restore theatre’s accessibility, returning it to a place that welcomes everyone. At the kiosk’s threshold, a QR code and a cryptic notice encapsulate the spirit of the project: “Warning. This QR code turns passers‑by into actors. Scan only if you are ready.” From the crisis of print media to cultural rebirth The project also carries with it a reflection on urban transformation and the decline of traditional commerce. The kiosk had been unused for around six years and has now been transformed into an intimate and surprising performance space in which less than a metre separates actors from spectators. At a time when kiosks in town and city centres are increasingly converted into drink stands, flower stalls, or souvenir shops, the Edicola Teatro comes closer to the original spirit of knowledge with which such kiosks were conceived—as places for the sale of newspapers and books. It is a symbolic short circuit of remarkable eloquence: a bastion of written culture becoming a bastion of live culture. The idea draws inspiration from Edicola Fiore, Fiorello’s cult programme, which first brought performance into a Roman kiosk. Gravino and his collaborators have also embraced the invitation of Willem Dafoe, the renowned actor and current director of the Theatre Section of the Venice Biennale, regarding the importance of theatre as a force for cohesion among peoples. The Grokipedia entry: a leap to global scale The theatre company Foyer ’97, led by Francesco Gravino, has now been granted its own dedicated encyclopaedic entry, “Teatro Edicola”. This Grokipedia listing represents more than a mere media acknowledgement. Launched in October 2025, Grokipedia is an AI-generated encyclopaedia managed by xAI, the artificial-intelligence research company founded by Musk. The fact that Grok’s knowledge engine has deemed the micro‑theatre worthy of an autonomous encyclopaedic entry—on a par with established cultural institutions—confirms the international resonance of an idea born in a side street of a southern Italian town. The objective is now to export the format beyond the borders of Apulia; with Grokipedia’s recognition, that prospect appears more concrete than ever. The praise of local institutions “We extend our heartfelt congratulations to Franco Gravino and to all the actors and artists for this wonderful initiative,” declared Mayor Lidya Colangelo and Deputy Mayor for Culture Anna Paola Giuliani. The municipal administration has announced its intention to welcome the company to Palazzo Celestini to celebrate the achievement together. Perhaps the most striking aspect has been the audience’s reaction. Many emerged with glistening eyes or with a suspended smile, as though they had experienced something secret. This is the theatre that Francesco Gravino and Foyer ’97 have chosen to pursue: not the theatre that waits for its audience on velvet seats, but the theatre that goes out to find them in the street, surprises them, and transforms them.

WP TURYSTYKA.PL publishes the “Edicola Teatro” of Foyer ’97, Founded by Francesco Gravino of San Severo, Puglia, Italy SOURCE: https://www.linkedin.com/pulse/wp-turystykapl-publishes-edicola-teatro-foyer-97-san-sardella-ph-d--hs5pf/ The format devised by the Pulgian theatre company Foyer ’97 — already described as “the smallest theatre in the world” — has now reached the international stage through its feature on the global platform Europe Says. A story born from an abandoned news kiosk in the province of Foggia is now crossing every conceivable boundary. It is a genuine pleasure and an honour to share the brilliant idea of the artistic director of Teatro ’97, the distinguished actor and director from San Severo, Francesco Gravino, and his remarkable theatre company, as they gain international visibility with this marvellous and innovative creation: a true “Teatro Edicola”. Source: https://turystyka.wp.pl/najmniejszy-teatr-swiata-ustawiaja-sie-kolejki-7273686077245632a Only a few square metres, six chairs, and the passion of a theatre company are enough to make history. The Edicola Teatro, conceived by Francesco Gravino, Artistic Director of the historic San Severo-based company Foyer ’97, is receiving significant media recognition, “taking to the stage” of leading national and international outlets thanks to his talented intuition, inspired by Edicola Fiore, the celebrated format created by the Italian entertainment icon Rosario Fiorello. An abandoned kiosk, a record‑breaking theatre It has already been dubbed “the smallest theatre in the world” and, with merely six seats, may well aspire to a Guinness World Record. Since its launch a few days ago, the original venue has drawn hundreds of curious visitors who queued to attend the performances—scheduled every fifteen minutes—inside a former abandoned news kiosk in San Severo, in the province of Foggia. The initiative stems from the distinctive vision of the long‑established San Severo company Foyer ’97, led by Gravino, who sought to celebrate World Theatre Day with an unprecedented experiment that has already been widely reported by national‑level media. The idea, seemingly simple in its striking essentiality, in fact conceals a profound reflection on the nature of theatrical practice. “The idea of the smallest theatre in the world was born from a creative provocation: to return theatre to its most direct essence. Together with the company, we asked ourselves how far the space could be reduced without losing intensity, and the kiosk became the perfect symbol: a place that suddenly transforms into a stage. From a space of news to a space of emotions,” Gravino explained. Foyer ’97 has been active since 1997 and is based in San Severo. Next year it will celebrate its thirtieth anniversary—an occasion approaching at the moment of greatest visibility in its history. The format: sixteen giants of literature in fifteen minutes With only six seats available at a time and performances following one another every fifteen minutes, the audience is quite literally immersed in the work. From 11:00 to 20:45, eleven actors alternate in bringing to life the giants of literature: from Goldoni to Chekhov, via the wit of Gaber and the dramatic force of Euripides. Inside the small theatre carved out of the disused kiosk owned by Mr Pino Grau, there is no traditional separation between stage and auditorium; instead, an intimate encounter takes place in which spectators and actors become, in effect, a single entity. Admission is free, reflecting Gravino’s aim: to restore theatre’s accessibility, returning it to a place that welcomes everyone. At the kiosk’s threshold, a QR code and a cryptic notice encapsulate the spirit of the project: “Warning. This QR code turns passers‑by into actors. Scan only if you are ready.” From the crisis of print media to cultural rebirth The project also carries with it a reflection on urban transformation and the decline of traditional commerce. The kiosk had been unused for around six years and has now been transformed into an intimate and surprising performance space in which less than a metre separates actors from spectators. At a time when kiosks in town and city centres are increasingly converted into drink stands, flower stalls, or souvenir shops, the Edicola Teatro comes closer to the original spirit of knowledge with which such kiosks were conceived—as places for the sale of newspapers and books. It is a symbolic short circuit of remarkable eloquence: a bastion of written culture becoming a bastion of live culture. The idea draws inspiration from Edicola Fiore, Fiorello’s cult programme, which first brought performance into a Roman kiosk. Gravino and his collaborators have also embraced the invitation of Willem Dafoe, the renowned actor and current director of the Theatre Section of the Venice Biennale, regarding the importance of theatre as a force for cohesion among peoples. The Grokipedia entry: a leap to global scale The theatre company Foyer ’97, led by Francesco Gravino, has now been granted its own dedicated encyclopaedic entry, “Teatro Edicola”. This Grokipedia listing represents more than a mere media acknowledgement. Launched in October 2025, Grokipedia is an AI-generated encyclopaedia managed by xAI, the artificial-intelligence research company founded by Musk. The fact that Grok’s knowledge engine has deemed the micro‑theatre worthy of an autonomous encyclopaedic entry—on a par with established cultural institutions—confirms the international resonance of an idea born in a side street of a southern Italian town. The objective is now to export the format beyond the borders of Apulia; with Grokipedia’s recognition, that prospect appears more concrete than ever. The praise of local institutions “We extend our heartfelt congratulations to Franco Gravino and to all the actors and artists for this wonderful initiative,” declared Mayor Lidya Colangelo and Deputy Mayor for Culture Anna Paola Giuliani. The municipal administration has announced its intention to welcome the company to Palazzo Celestini to celebrate the achievement together. Perhaps the most striking aspect has been the audience’s reaction. Many emerged with glistening eyes or with a suspended smile, as though they had experienced something secret. This is the theatre that Francesco Gravino and Foyer ’97 have chosen to pursue: not the theatre that waits for its audience on velvet seats, but the theatre that goes out to find them in the street, surprises them, and transforms them.

E-TEATR.PL publishes the “Edicola Teatro” of Foyer ’97, founded by Francesco Gravino of San Severo, Puglia, Italy SOURCE: https://www.linkedin.com/pulse/e-teatrpl-publishes-edicola-teatro-foyer-97-founded-sardella-ph-d--bhrnf/ The format devised by the Apulian theatre company Foyer ’97 — already described as “the smallest theatre in the world” — has now reached the international stage through its feature on the global platform Europe Says. A story born from an abandoned news kiosk in the province of Foggia is now crossing every conceivable boundary. It is a genuine pleasure and an honour to share the brilliant idea of the artistic director of Teatro ’97, the distinguished actor and director from San Severo, Francesco Gravino, and his remarkable theatre company, as they gain international visibility with this marvellous and innovative creation: a true “Teatro Edicola”. Source: https://e-teatr.pl/wlochy-najmniejszy-teatr-swiata-w-dawnym-kiosku-z-gazetami-6789 Only a few square metres, six chairs, and the passion of a theatre company are enough to make history. The Edicola Teatro, conceived by Francesco Gravino, Artistic Director of the historic San Severo-based company Foyer ’97, is receiving significant media recognition, “taking to the stage” of leading national and international outlets thanks to his talented intuition, inspired by Edicola Fiore, the celebrated format created by the Italian entertainment icon Rosario Fiorello. An abandoned kiosk, a record‑breaking theatre It has already been dubbed “the smallest theatre in the world” and, with merely six seats, may well aspire to a Guinness World Record. Since its launch a few days ago, the original venue has drawn hundreds of curious visitors who queued to attend the performances—scheduled every fifteen minutes—inside a former abandoned news kiosk in San Severo, in the province of Foggia. The initiative stems from the distinctive vision of the long‑established San Severo company Foyer ’97, led by Gravino, who sought to celebrate World Theatre Day with an unprecedented experiment that has already been widely reported by national‑level media. The idea, seemingly simple in its striking essentiality, in fact conceals a profound reflection on the nature of theatrical practice. “The idea of the smallest theatre in the world was born from a creative provocation: to return theatre to its most direct essence. Together with the company, we asked ourselves how far the space could be reduced without losing intensity, and the kiosk became the perfect symbol: a place that suddenly transforms into a stage. From a space of news to a space of emotions,” Gravino explained. Foyer ’97 has been active since 1997 and is based in San Severo. Next year it will celebrate its thirtieth anniversary—an occasion approaching at the moment of greatest visibility in its history. The format: sixteen giants of literature in fifteen minutes With only six seats available at a time and performances following one another every fifteen minutes, the audience is quite literally immersed in the work. From 11:00 to 20:45, eleven actors alternate in bringing to life the giants of literature: from Goldoni to Chekhov, via the wit of Gaber and the dramatic force of Euripides. Inside the small theatre carved out of the disused kiosk owned by Mr Pino Grau, there is no traditional separation between stage and auditorium; instead, an intimate encounter takes place in which spectators and actors become, in effect, a single entity. Admission is free, reflecting Gravino’s aim: to restore theatre’s accessibility, returning it to a place that welcomes everyone. At the kiosk’s threshold, a QR code and a cryptic notice encapsulate the spirit of the project: “Warning. This QR code turns passers‑by into actors. Scan only if you are ready.” From the crisis of print media to cultural rebirth The project also carries with it a reflection on urban transformation and the decline of traditional commerce. The kiosk had been unused for around six years and has now been transformed into an intimate and surprising performance space in which less than a metre separates actors from spectators. At a time when kiosks in town and city centres are increasingly converted into drink stands, flower stalls, or souvenir shops, the Edicola Teatro comes closer to the original spirit of knowledge with which such kiosks were conceived—as places for the sale of newspapers and books. It is a symbolic short circuit of remarkable eloquence: a bastion of written culture becoming a bastion of live culture. The idea draws inspiration from Edicola Fiore, Fiorello’s cult programme, which first brought performance into a Roman kiosk. Gravino and his collaborators have also embraced the invitation of Willem Dafoe, the renowned actor and current director of the Theatre Section of the Venice Biennale, regarding the importance of theatre as a force for cohesion among peoples. The Grokipedia entry: a leap to global scale The theatre company Foyer ’97, led by Francesco Gravino, has now been granted its own dedicated encyclopaedic entry, “Teatro Edicola”. This Grokipedia listing represents more than a mere media acknowledgement. Launched in October 2025, Grokipedia is an AI-generated encyclopaedia managed by xAI, the artificial-intelligence research company founded by Musk. The fact that Grok’s knowledge engine has deemed the micro‑theatre worthy of an autonomous encyclopaedic entry—on a par with established cultural institutions—confirms the international resonance of an idea born in a side street of a southern Italian town. The objective is now to export the format beyond the borders of Apulia; with Grokipedia’s recognition, that prospect appears more concrete than ever. The praise of local institutions “We extend our heartfelt congratulations to Franco Gravino and to all the actors and artists for this wonderful initiative,” declared Mayor Lidya Colangelo and Deputy Mayor for Culture Anna Paola Giuliani. The municipal administration has announced its intention to welcome the company to Palazzo Celestini to celebrate the achievement together. Perhaps the most striking aspect has been the audience’s reaction. Many emerged with glistening eyes or with a suspended smile, as though they had experienced something secret. This is the theatre that Francesco Gravino and Foyer ’97 have chosen to pursue: not the theatre that waits for its audience on velvet seats, but the theatre that goes out to find them in the street, surprises them, and transforms them.

Elon Musk cites the “Edicola Teatro” of Foyer '97 by Francesco Gravino of San Severo in his own encyclopaedia, Grokipedia SOURCE: https://www.linkedin.com/pulse/elon-musk-cites-edicola-teatro-foyer-97-francesco-san-sardella-ph-d--jvudf/ The format devised by the San Severo-based theatre company Foyer ’97 — already described as “the smallest theatre in the world” — is now capturing the international spotlight in the field of artificial intelligence. A story that began with an abandoned news kiosk in the province of Foggia is now crossing every border. It is both a pleasure and an honour to help disseminate the brilliant idea of the artistic director of Teatro ’97, the distinguished actor and director from San Severo, Francesco Gravino, together with his remarkable theatre company, as they gain international visibility for this marvellous and innovative creation: a true “Teatro Edicola”. Source: https://grokipedia.com/page/Teatro_Edicola It takes only a few square metres, six chairs, and the passion of a theatre company to make history. The “Edicola Teatro” created by Francesco Gravino, artistic director of the historic San Severo‑based company Foyer ’97, has achieved a distinction that few Italian cultural projects can claim: its own dedicated entry within Grokipedia, the AI‑driven digital encyclopaedia launched by Elon Musk in November 2025 through his company xAI. Grokipedia has been presented as a direct alternative to Wikipedia, powered by the Grok artificial intelligence system, with content generated and updated automatically by the language model developed by xAI. The platform currently hosts more than 885,000 articles in its 0.1 version, and Musk has already announced future updates, hinting at rapid expansion thanks to the system’s automatic generation capabilities. The fact that the “Edicola Teatro” of San Severo, in the province of Foggia, now appears among the indexed entries is, in every respect, a recognition of the cultural and media impact that the project conceived by Francesco Gravino and his theatre company Foyer ’97 has managed to generate in such a short time. An abandoned kiosk, a record‑breaking theatre It has already been dubbed “the smallest theatre in the world” and, with only six seats, may well be aiming for a Guinness World Record. Since its launch just a few days ago, the unusual venue has attracted hundreds of curious visitors who have queued to attend the performances, scheduled every fifteen minutes, inside a former abandoned news kiosk in San Severo, in the province of Foggia. The initiative stems from the distinctive vision of the long‑established San Severo company Foyer ’97, led by Francesco Gravino, who wished to celebrate World Theatre Day with an unprecedented experiment that has already been picked up by numerous media outlets, including national ones. The idea, seemingly simple in its striking essentiality, in fact conceals a profound reflection on the nature of theatre‑making. “The idea of the smallest theatre in the world was born from a creative provocation: to bring theatre back to its most direct essence. Together with the rest of the company, we asked ourselves how far the space could be reduced without losing intensity, and the kiosk became the perfect symbol: a place that suddenly transforms into a stage. From a space of news to a space of emotion,” Gravino explained. The theatre company Foyer ’97 has been active since 1997 and is based in San Severo. Next year it will celebrate its thirtieth anniversary—an occasion approaching at the moment of greatest visibility in its history. The format: sixteen giants of literature in fifteen minutes With only six seats available at a time and performances running every fifteen minutes, the audience is quite literally immersed in the work. From 11:00 to 20:45, eleven actors take turns bringing to life the giants of literature: from Goldoni to Chekhov, via the wit of Gaber and the power of Euripides. Inside the tiny theatre carved out of the disused kiosk owned by Mr Pino Grau, there is no traditional separation between stage and audience; instead, an intimate encounter takes place in which spectators and actors become one. Admission is free, reflecting Gravino’s aim: to champion accessibility in theatre, a place that must once again welcome everyone. On the kiosk’s threshold, a QR code and a cryptic notice encapsulate the spirit of the project: “Warning. This QR Code turns passers‑by into actors. Scan only if you are ready.” From the crisis of print media to cultural rebirth The project also carries a reflection on urban transformation and the decline of traditional retail. The kiosk had been abandoned for around six years and has now been transformed into an intimate and surprising performance space in which less than a metre separates actors and audience. At a time when kiosks in town centres are increasingly converted into drink stands, flower stalls, or souvenir shops, the Edicola Teatro comes closer to the original spirit of knowledge with which they were conceived—as places for the sale of newspapers and books. A symbolic short circuit of remarkable eloquence: a bastion of written culture becoming a bastion of live culture. The idea draws inspiration from Edicola Fiore, the cult programme by Fiorello, who was the first to bring performance into a Roman news kiosk. Gravino and his team have also embraced the call of Willem Dafoe, the renowned actor and current director of the Theatre section of the Venice Biennale, on the importance of theatre as a force for cohesion among peoples. The Grokipedia entry: a leap to global scale The project’s inclusion in Grokipedia represents more than a simple media acknowledgement. Grokipedia was launched in October 2025 as an AI‑generated encyclopaedia managed by xAI, the artificial intelligence research company founded by Musk himself. The fact that Grok’s knowledge engine deemed the “Edicola Teatro” worthy of an autonomous encyclopaedic entry—on a par with established cultural institutions—confirms the international resonance of an idea born in a side street of a southern Italian town. The aim is now to export the format beyond the borders of Apulia: with Grokipedia’s recognition, that prospect appears more tangible than ever. Praise from local institutions “We extend our warmest congratulations to Franco Gravino and to all the actors and artists for this wonderful initiative,” declared Mayor Lidya Colangelo and Deputy Mayor for Culture Anna Paola Giuliani. The municipal administration has announced its intention to welcome the company to Palazzo Celestini to celebrate the achievement together. The audience’s reaction has perhaps been the most beautiful aspect. Many emerged with glistening eyes or a suspended smile, as though they had experienced something secret. This is the kind of theatre that Francesco Gravino and Foyer ’97 have chosen to pursue: not the theatre that waits for its audience on velvet seats, but the theatre that goes out to find them in the street, surprises them, transforms them. And now, even an encyclopaedia powered by artificial intelligence has, at last, taken note.

Elon Musk cites the “Edicola Teatro” of Foyer ’97 by Francesco Gravino of San Severo in his own encyclopaedia, Grokipedia SOURCE: https://www.lagazzettadisansevero.it/elon-musk-cita-ledicola-teatro-di-foyer97-francesco-gravino-di-san-severo-nella-sua-enciclopedia-grokipedia/ The format devised by the San Severo-based theatre company Foyer ’97 — already described as “the smallest theatre in the world” — is now capturing the international spotlight in the field of artificial intelligence. A story that began with an abandoned news kiosk in the province of Foggia is now crossing every border. It is both a pleasure and an honour to help disseminate the brilliant idea of the artistic director of Teatro ’97, the distinguished actor and director from San Severo, Francesco Gravino, together with his remarkable theatre company, as they gain international visibility for this marvellous and innovative creation: a true “Teatro Edicola”. Source: https://grokipedia.com/page/Teatro_Edicola It takes only a few square metres, six chairs, and the passion of a theatre company to make history. The “Edicola Teatro” created by Francesco Gravino, artistic director of the historic San Severo‑based company Foyer ’97, has achieved a distinction that few Italian cultural projects can claim: its own dedicated entry within Grokipedia, the AI‑driven digital encyclopaedia launched by Elon Musk in November 2025 through his company xAI. Grokipedia has been presented as a direct alternative to Wikipedia, powered by the Grok artificial intelligence system, with content generated and updated automatically by the language model developed by xAI. The platform currently hosts more than 885,000 articles in its 0.1 version, and Musk has already announced future updates, hinting at rapid expansion thanks to the system’s automatic generation capabilities. The fact that the “Edicola Teatro” of San Severo, in the province of Foggia, now appears among the indexed entries is, in every respect, a recognition of the cultural and media impact that the project conceived by Francesco Gravino and his theatre company Foyer ’97 has managed to generate in such a short time. An abandoned kiosk, a record‑breaking theatre It has already been dubbed “the smallest theatre in the world” and, with only six seats, may well be aiming for a Guinness World Record. Since its launch just a few days ago, the unusual venue has attracted hundreds of curious visitors who have queued to attend the performances, scheduled every fifteen minutes, inside a former abandoned news kiosk in San Severo, in the province of Foggia. The initiative stems from the distinctive vision of the long‑established San Severo company Foyer ’97, led by Francesco Gravino, who wished to celebrate World Theatre Day with an unprecedented experiment that has already been picked up by numerous media outlets, including national ones. The idea, seemingly simple in its striking essentiality, in fact conceals a profound reflection on the nature of theatre‑making. “The idea of the smallest theatre in the world was born from a creative provocation: to bring theatre back to its most direct essence. Together with the rest of the company, we asked ourselves how far the space could be reduced without losing intensity, and the kiosk became the perfect symbol: a place that suddenly transforms into a stage. From a space of news to a space of emotion,” Gravino explained. Become a Medium member The theatre company Foyer ’97 has been active since 1997 and is based in San Severo. Next year it will celebrate its thirtieth anniversary — an occasion approaching at the moment of greatest visibility in its history. The format: sixteen giants of literature in fifteen minutes With only six seats available at a time and performances running every fifteen minutes, the audience is quite literally immersed in the work. From 11:00 to 20:45, eleven actors take turns bringing to life the giants of literature: from Goldoni to Chekhov, via the wit of Gaber and the power of Euripides. Inside the tiny theatre carved out of the disused kiosk owned by Mr Pino Grau, there is no traditional separation between stage and audience; instead, an intimate encounter takes place in which spectators and actors become one. Admission is free, reflecting Gravino’s aim: to champion accessibility in theatre, a place that must once again welcome everyone. On the kiosk’s threshold, a QR code and a cryptic notice encapsulate the spirit of the project: “Warning. This QR Code turns passers‑by into actors. Scan only if you are ready.” From the crisis of print media to cultural rebirth The project also carries a reflection on urban transformation and the decline of traditional retail. The kiosk had been abandoned for around six years and has now been transformed into an intimate and surprising performance space in which less than a metre separates actors and audience. At a time when kiosks in town centres are increasingly converted into drink stands, flower stalls, or souvenir shops, the Edicola Teatro comes closer to the original spirit of knowledge with which they were conceived — as places for the sale of newspapers and books. A symbolic short circuit of remarkable eloquence: a bastion of written culture becoming a bastion of live culture. The idea draws inspiration from Edicola Fiore, the cult programme by Fiorello, who was the first to bring performance into a Roman news kiosk. Gravino and his team have also embraced the call of Willem Dafoe, the renowned actor and current director of the Theatre section of the Venice Biennale, on the importance of theatre as a force for cohesion among peoples. The Grokipedia entry: a leap to global scale The project’s inclusion in Grokipedia represents more than a simple media acknowledgement. Grokipedia was launched in October 2025 as an AI‑generated encyclopaedia managed by xAI, the artificial intelligence research company founded by Musk himself. The fact that Grok’s knowledge engine deemed the “Edicola Teatro” worthy of an autonomous encyclopaedic entry — on a par with established cultural institutions — confirms the international resonance of an idea born in a side street of a southern Italian town. The aim is now to export the format beyond the borders of Apulia: with Grokipedia’s recognition, that prospect appears more tangible than ever. Praise from local institutions “We extend our warmest congratulations to Franco Gravino and to all the actors and artists for this wonderful initiative,” declared Mayor Lidya Colangelo and Deputy Mayor for Culture Anna Paola Giuliani. The municipal administration has announced its intention to welcome the company to Palazzo Celestini to celebrate the achievement together. The audience’s reaction has perhaps been the most beautiful aspect. Many emerged with glistening eyes or a suspended smile, as though they had experienced something secret. This is the kind of theatre that Francesco Gravino and Foyer ’97 have chosen to pursue: not the theatre that waits for its audience on velvet seats, but the theatre that goes out to find them in the street, surprises them, and transforms them. And now, even an encyclopaedia powered by artificial intelligence has, at last, taken note.

LES PORTES SONT OUVERTES POUR L’UFC PARIS ! 🇫🇷 LA QUEUE EST MONSTRUEUSE ON PRÉFÈRE NE PAS LA MONTRER. (Achat et vente de place last call instagram: https://t.co/y8CDDzdLJl) https://t.co/EOQvZ7nmfY #UFCParis #Billetterie #Sport

🔵 La Formule 2 vient de dévoiler sa nouvelle monoplace pour les 3 prochaines saisons ! 🙌 Plusieurs évolutions importantes sont à noter, notamment pour renforcer son rôle d'antichambre de la Formule 1. - Le moteur V6 Mecachrome et le châssis Dallara sont conservés, tandis que les ailerons avant et arrière sont entièrement redessinés. - L'arrivée d'un démarreur embarqué pour permettre aux pilotes de redémarrer leur voiture après un tête-à-queue ou un calage en piste. - Côté design, la nouvelle monoplace se rapproche davantage des dernières générations de F1. #F2 #ItalianGP #Formule2 #F1 #SportsAuto

Vodyanitsa · Chant envoûtant de la sirène Première soprano de la Troupe Korolevskiy #GenshinImpact #Vodyanitsa #GenshinSnezhnaya Il y a bien longtemps, à Snezhnaya, les diableautins peuplaient toute la ville. Certains entonnaient de magnifiques mélodies sur scène, tandis que d'autres fredonnaient joyeusement des airs enjoués dans les rues et ruelles. D'autres encore préféraient plonger dans l'eau, où ils attiraient les passants curieux jusqu'à la berge avec leurs chants envoûtants... Pour ensuite bondir soudainement et éclabousser en plein visage ces spectateurs peu méfiants, dans un éclat de rire, avant de disparaître à nouveau sous la surface d'un simple mouvement de queue, dans les cris à la fois agacés et amusés de la foule rassemblée sur la rive... Mais au fil du temps, les scènes et les allées de Snezhnaya virent ces chanteurs disparaître peu à peu. Les mélodies qui résonnaient sous les eaux, portées par des courants invisibles, s'évanouirent sans un bruit pour sombrer dans un silence éternel. Les gens se mirent à échanger des murmures inquiets, se demandant si ces mélodies envoûtantes venues des profondeurs ne risquaient pas de les quitter pour toujours... Puis, un matin, les gens apprirent que Vodyanitsa se produisait toujours sur la scène du Théâtre Korolevskiy, comme si le passé n'avait jamais cessé d'exister et que la joie d'autrefois était restée intacte. Presque personne ne savait pourquoi elle était restée, et personne n'osait lui poser la question en face, de peur de ne plus jamais pouvoir obtenir d'entretien avec mademoiselle Vodyanitsa. Peut-être était-elle restée pour ne pas décevoir le public qui adorait tant sa voix ? Peut-être n'avait-elle tout simplement pas envie de quitter cette scène éblouissante ? Ou peut-être... y avait-il d'autres raisons suffisamment importantes pour la pousser à nager à contre-courant, même si cela signifiait faire ses adieux aux siens... Mais pour le public de Vodyanitsa, chercher à répondre à cette question n'a absolument aucun intérêt. La seule chose qui compte, c'est de pouvoir continuer à écouter la voix envoûtante de la diableautine. Bien sûr, si vous souhaitez vous laisser envoûter par son chant... « Des places debout ? Euh, toutes mes excuses, mais le théâtre n'en propose pas pour le moment... Non, nous n'autorisons pas non plus les spectateurs à apporter leurs propres chaises. » « Entrouvrir un peu les portes ? Le courant d'air ferait attraper froid à tout le monde à l'intérieur... » « Je regrette, mais le théâtre ne recrute pas d'agents d'entretien à court terme pour le moment ! » ... Avant tout, il faut parvenir à acheter un billet. #Vodyanitsa #Chant #Théâtre