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Wolf paid tribute to Yanis Coviaux, who would have turned 15 on October 12. He recalled that Yanis was born in Voiron, Isère, on October 12, 2011, and that he was four and a half years old when he was killed in Nice on July 14, 2016, in the truck attack carried out by Mohamed Lahouaiej-Bouhlel, whom he described as Islamic. Wolf wrote that Yanis had been taken from his family and the future that awaited him. He called for preserving his memory and not forgetting him, mentioning the dozens of families affected by that night of horror. #YanisCoviaux #Mémoire #JamaisOublié (translated)

Rockstar Mag' estimated that the week could be significant for GTA 6, stating that the game's marketing was ramping up in Miami. The media indicated that the Kaeseya Center and the Hard Rock Stadium had been decorated in the colors of the game, particularly for a Miami Dolphins game. According to them, the marketing campaign in the city was set to officially begin on October 15. https://t.co/WQ7AYoKD8b #GTA6 #Miami #JeuxVidéo (translated)

Antoine Léaument invited his readers to listen to the person speaking at the end, whom he accused of denying France's revolutionary identity. He stated that the French flag, "La Marseillaise," and the national motto would not exist without the Revolution, adding that one would have to come to terms with it. #Révolution #Histoire #Identité (translated)

The gift for Putin stated that the announced energy ceasefire, according to him, only applied to attacks on oil refineries. He claimed that Ukraine has no functional facilities of this type, so the ceasefire in practice means that it will not attack Russian refineries. He referred to Donald Trump's decision as open aid to Vladimir Putin. https://t.co/SsTuTIrbKC #Ukrajina #Rusko #Energetika (translated)

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

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

Seydou stated that he was closer to the Gallic heritage than Albin, as he believed he was aware of his republican heritage stemming from the Revolution. He added that Albin, for his part, would have been on the side of the king and would have thus endorsed national sovereignty. He concluded by expressing support for a social Republic. #Révolution #Héritage #République (translated)

Trump said that he believes it is time for a new president. Why? Because the president of Ukraine must make very responsible and very difficult decisions to end this war. Either Zelensky takes on that responsibility and demonstrates that political will, or he does not. #Trump #Ukraina #wojna (translated)

The Armed Forces parade is held today, October 12, Columbus Day, to commemorate the encounter between America and Europe after the arrival of Christopher Columbus, an event that symbolizes a significant cultural exchange in history. #DíaDeLaHispanidad #FuerzasArmadas #DesfileMilitar (translated)

Everything is prepared for the military parade of the National Holiday in Madrid, which will be held on October 12, 2026, with the participation of more than 4,300 members of the Armed Forces and a large aerial and ground display. #DíaDeLaFiestaNacional #DesfileMilitar #FiestaNacionalEspaña (translated)

The connoisseur of the Soviet Union wrote that Volodymyr Zelensky proposed an arrangement in which Russia would stop killing Ukrainian children, and Ukraine would cease attacks on Russian diesel. The author called it monstrous to attack power plants and deprive children of heat in winter in Kharkiv and Kyiv. https://t.co/bUOiQCGF7v #Ukraina #Pokoj #Bezpieczeństwo (translated)

Jarosław Królewski wrote that before the 24th minute of the match between Legia and Wisła, in his opinion, the Krakow team was at least equal, if not better than their rivals. They were creating chances and gradually taking control of the game, which — as he pointed out — was also mentioned by coach Mariusz Jop. Królewski accused the referee of allowing a goal for Legia despite two mistakes in one situation, and moments later not awarding a clear penalty for Wisła. He claimed these decisions changed the dynamic of the match: Wisła stopped playing as before, and Legia could retreat, limit risks, and control the game. The author emphasized that refereeing decisions affect not only individual actions or goals but also the strategy and behavior of both teams as well as the further course of the game. He noted that before the 25th minute, the statistics for Legia and Wisła were: shots 1:3, shots on target 1:1, possession 45%-55%, and xG 0.17-0.59. Królewski also mentioned bottles thrown onto the pitch, the refusal to allow Wisła fans into the stadium, the television station inviting editors from LW news services, and skipping difficult topics on air. He also pointed out the incorrect Wisła emblem on the screens and the announcer mispronouncing the names of players, including Artur Rodado, as well as presenting them in the feminine form. He wrote that he found it hard to rule out intentional actions in some of these cases. According to Królewski, there was a lack of respect, fairness, and equal rules during the match. He considered that the game was not an example of professional football worth remembering. #PiłkaNożna #Futbol #Sędziowanie (translated)

Israel is preparing to hold legislative elections on October 27, 2026, the first since the Hamas attack on October 7, 2023, with polls suggesting a close contest between current Prime Minister Benjamin Netanyahu and his main rival, Gadi Eisenkot. #EleccionesIsrael #Netanyahu #GadiEisenkot (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