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MSN ITALIA - ANSA ITALIA: "THE TEATRO-EDICOLA FEATURED IN STANFORD UNIVERSITY'S REVIEW" SOURCE: https://www.msn.com/.../il-teatro-edicola-del.../ar-AA2cyMWR (ANSA) - FOGGIA, 19 SEPT - The idea of the newspaper-kiosk theatre in San Severo, in the province of Foggia, renamed the smallest theatre in the world, has become a case study for Stanford University. The article "The Six-Seat Revolution" by the Foggian researcher Luciano Magaldi, supervised by editor David V. Johnson, has been published in Ssir (an award-winning publication covering multi-sectoral solutions to global problems). The article is in the "Dispatches" section of the "Stanford Social Innovation Review". "It is a result that rewards our work - emphasises Francesco Gravino, artistic director of the theatre company Foyer 97 - . Requests to replicate the model have come from other areas of Italy, such as Lucca and Rome. We thought of creating a cultural activity from a place that was disused and in a state of abandonment. There ought to be a regional law that allows for the reconversion of these disused places in which numerous activities could be created. Veritable cultural outposts". Gravino and the actors of the company are preparing the new programme. "Next year our company will be 30 years old - he said - , an important milestone which we shall celebrate with some new developments". Six chairs, less than two square metres, performances every 15 minutes and a sold-out audience of young people and adults. An experiment that has aroused curiosity and interest in the world of entertainment as well. Between the end of July and the beginning of August, during the tour in Lucera (Foggia), Biagio Antonacci made a surprise stop at the newspaper-kiosk theatre and sang his Iris. "It was truly a wonderful encounter which captured the attention of passers-by," concludes Gravino. (ANSA). (translated)

Roger García described as "new normal" a situation in which, according to his writings, they could attack the homes of small business owners who did not pay extortion fees and shoot at kiosk vendors, street vendors, mototaxi drivers, and markets. He also stated that they extorted public schools and transportation companies; in one case, he said, four gangs demanded payments and a fifth shot at a company to demand money. García added that they killed candidates during the electoral process and journalists. He criticized the Government for asking for "patience" while, according to his writings, a person could be shot for taking a public bus to return home after work. He closed by asking if they should continue waiting. #NuevaNormalidad #Inseguridad #Justicia (translated)

Mitico Magazine - The Teatro Edicola of San Severo: A Model of Cultural Revolution for Stanford University as Well Source: https://www.miticomagazine.com/territorio-e-sociale/teatro-edicola-di-san-severo-un-modello-di-rivoluzione-culturale-anche-per-la-stanford-university/ The Teatro Edicola in Via Tondi In San Severo, a singular metamorphosis has taken place: a newsstand abandoned for at least six years has found a new function and a new identity, transforming into one of the smallest and most unusual theatre stages in the world. An experiment born in the heart of the town which, in just a few months, has moved beyond local boundaries, attracting attention even overseas. It is called Teatro Edicola and it is a project conceived by the company Foyer '97, artistically directed by Francesco Gravino, which has brought the old newsstand in Via Tondi back to life through a formula that is both essential and surprising. Foyer '97 Foyer '97 APS was established as a formally constituted association active in the cultural sector in San Severo in 1997, born from the vocation of a group of actors, directors and theatre enthusiasts, with the aim of building a "living" and accessible theatre in the town. Over the years the company has developed a repertoire that includes texts from the classical tradition, contemporary dramaturgy, comedy and experimental projects, not limiting itself to the mere production of theatre shows, but also organising theatre courses and workshops and educational and cultural projects characterised by a strong inclusive ethos, particularly in schools. Foyer '97 does not always have a fixed artistic ensemble, but works with different performers and collaborators depending on the project; the only indispensable presence is that of Francesco Guido Gravino himself, actor, director and artistic director of the theatre company. The distinctive feature of Foyer '97 is certainly the value of social and cultural promotion attributed to theatre, the extremely close relationship with the audience and the search for a type of theatre outside conventional spaces, with cemeteries, trains, bell towers, and now a newsstand, as its backdrop. Six spectators, a few minutes and a minimal distance between stage and audience The project was launched on 27 March 2026, on the occasion of World Theatre Day, offering a theatrical experience built around a radical reduction of the conventional spaces and times of performance. The idea was born not only from the search for unconventional spaces, but also from "Edicola Fiore", the morning press review with a strongly ironic tone presented by Rosario Fiorello and Stefano Meloccaro, which was broadcast first only on Fiorello's social channels between 2011 and 2014, and then also on radio and television between 2016 and 2018. The review took its name from the diminutive of its founder, Fiore, and from the newsstand of a friend of Fiorello's in Via Flaminia Nuova in Rome, where the showman would meet early in the morning with a group of friends to read the newspapers. The San Severo newsstand was granted free of charge by its owner Pino Frau to the theatre group which, after obtaining temporary authorisation and institutional support from the Municipality of San Severo, refurbished it within two weeks at a cost of less than €3,000. Just six seats, a total surface area of 4 sq m, of which only 2 are for the stage area, less than a metre between actors and audience, a curtain, a lectern, two lights, performances lasting between 5 and 15 minutes, audience rotation every quarter of an hour: apparently minimal elements that end up subverting the usual relationship between stage and auditorium. Spectators, in fact, find themselves immersed in the stage action, in such proximity to the actors that every gesture, expression and word becomes immediately perceptible. In this way, theatre abandons its traditional spaces and insinuates itself into the everyday life of the street, becoming an intimate, concentrated and almost participatory experience. During the inaugural period admission was free with a subsequent voluntary donation from spectators; in the event of a more stable and longer-term concession, which could lead to seasonal theatre performances, the proposed ticket price would be €5. Audiences reward the experiment Foyer '97's gamble met with public interest right from the start: over 60 people attended the shows in a single afternoon, while the three days that inaugurated the season sold out. From a singular local experiment, the Teatro Edicola thus began to arouse curiosity even outside the province of Foggia, gradually transforming into a case of cultural and social interest, until it reached the American continent. From the province of Foggia to the "Stanford Social Innovation Review" The San Severo experience has now come under the international spotlight: in September 2026, the Stanford Social Innovation Review, an international journal and platform dedicated to social innovation published by the Stanford Center on Philanthropy and Civil Society at Stanford University in California, published on its website and in the Fall 2026 print edition the reportage "The Six-Seat Revolution", written by Dr Luciano Magaldi Sardella, independent journalist and researcher affiliated with the European Open University, and editorially supervised by deputy editor David V. Johnson. In the article, it is argued that the Teatro Edicola attracted attention overseas because the project concentrates cultural innovation, urban regeneration and proximity theatre into just a few square metres: starting from a real urban problem, it recovers an abandoned place with a modest investment, brings performance directly into public space and experiments with a much closer relationship between actors and spectators. From the point of view of theatrical representation, it also highlights how the format, based on micro-stories of five to twelve minutes, taken from great classics such as Goldoni, Chekhov, Ibsen, Euripides and Benni, and on audience rotation every fifteen minutes, transforms the physical limitations of the space into a precise dramaturgical choice, proving to be extremely innovative. All of this makes it possible to address some of the main critical issues in the sector: falling audience numbers, an exclusively elderly audience, reduced resources and distance from traditional cultural venues. The journal also highlights, however, the potential problems: economic sustainability, the need for stable institutional support and the difficulty of replicating the model, which is closely linked to the community and territory of San Severo. A model looking beyond San Severo Despite the difficulties, initial requests for information have already arrived from Lucca and Rome, where there is curiosity about the possibility of getting to know the model more closely and the steps needed to replicate it. The replicability formula, in fact, does not seem to require particularly costly infrastructure: an unused space, a targeted intervention, a cultural idea, in-depth knowledge of the surrounding area and a willingness to return that place to the community can be enough to trigger a new urban function. It is precisely in the disproportion between the modesty of the resources employed and the resonance generated by the initiative that perhaps the most original feature of the Teatro Edicola lies, certainly unique of its kind; there are, however, other examples in Italy of newsstands reused for other purposes: "Edicola 518", a twentieth-century kiosk abandoned in the centre of Perugia, now dedicated to independent publishing, art and cultural production; and in Rome itself, the abandoned newsstand in Piazza Testaccio used temporarily as a stage for a show by Fabio Morgan and the Erno newsstand in the Prati district, which almost every month offers a calendar of events, exhibitions, pop-ups and collaborations with artists and creative enterprises. Small revolutions, therefore, that tell stories of the reappropriation of urban spaces, of creativity and social innovation. And which, it is hoped, will take root in order to look ever further afield.

Mitico Magazine - The Teatro Edicola of San Severo: A Model of Cultural Revolution for Stanford University as Well Source: https://www.miticomagazine.com/territorio-e-sociale/teatro-edicola-di-san-severo-un-modello-di-rivoluzione-culturale-anche-per-la-stanford-university/ The Teatro Edicola in Via Tondi In San Severo, a singular metamorphosis has taken place: a newsstand abandoned for at least six years has found a new function and a new identity, transforming into one of the smallest and most unusual theatre stages in the world. An experiment born in the heart of the town which, in just a few months, has moved beyond local boundaries, attracting attention even overseas. It is called Teatro Edicola and it is a project conceived by the company Foyer '97, artistically directed by Francesco Gravino, which has brought the old newsstand in Via Tondi back to life through a formula that is both essential and surprising. Foyer '97 Foyer '97 APS was established as a formally constituted association active in the cultural sector in San Severo in 1997, born from the vocation of a group of actors, directors and theatre enthusiasts, with the aim of building a "living" and accessible theatre in the town. Over the years the company has developed a repertoire that includes texts from the classical tradition, contemporary dramaturgy, comedy and experimental projects, not limiting itself to the mere production of theatre shows, but also organising theatre courses and workshops and educational and cultural projects characterised by a strong inclusive ethos, particularly in schools. Foyer '97 does not always have a fixed artistic ensemble, but works with different performers and collaborators depending on the project; the only indispensable presence is that of Francesco Guido Gravino himself, actor, director and artistic director of the theatre company. The distinctive feature of Foyer '97 is certainly the value of social and cultural promotion attributed to theatre, the extremely close relationship with the audience and the search for a type of theatre outside conventional spaces, with cemeteries, trains, bell towers, and now a newsstand, as its backdrop. Six spectators, a few minutes and a minimal distance between stage and audience The project was launched on 27 March 2026, on the occasion of World Theatre Day, offering a theatrical experience built around a radical reduction of the conventional spaces and times of performance. The idea was born not only from the search for unconventional spaces, but also from "Edicola Fiore", the morning press review with a strongly ironic tone presented by Rosario Fiorello and Stefano Meloccaro, which was broadcast first only on Fiorello's social channels between 2011 and 2014, and then also on radio and television between 2016 and 2018. The review took its name from the diminutive of its founder, Fiore, and from the newsstand of a friend of Fiorello's in Via Flaminia Nuova in Rome, where the showman would meet early in the morning with a group of friends to read the newspapers. The San Severo newsstand was granted free of charge by its owner Pino Frau to the theatre group which, after obtaining temporary authorisation and institutional support from the Municipality of San Severo, refurbished it within two weeks at a cost of less than €3,000. Just six seats, a total surface area of 4 sq m, of which only 2 are for the stage area, less than a metre between actors and audience, a curtain, a lectern, two lights, performances lasting between 5 and 15 minutes, audience rotation every quarter of an hour: apparently minimal elements that end up subverting the usual relationship between stage and auditorium. Spectators, in fact, find themselves immersed in the stage action, in such proximity to the actors that every gesture, expression and word becomes immediately perceptible. In this way, theatre abandons its traditional spaces and insinuates itself into the everyday life of the street, becoming an intimate, concentrated and almost participatory experience. During the inaugural period admission was free with a subsequent voluntary donation from spectators; in the event of a more stable and longer-term concession, which could lead to seasonal theatre performances, the proposed ticket price would be €5. Audiences reward the experiment Foyer '97's gamble met with public interest right from the start: over 60 people attended the shows in a single afternoon, while the three days that inaugurated the season sold out. From a singular local experiment, the Teatro Edicola thus began to arouse curiosity even outside the province of Foggia, gradually transforming into a case of cultural and social interest, until it reached the American continent. From the province of Foggia to the "Stanford Social Innovation Review" The San Severo experience has now come under the international spotlight: in September 2026, the Stanford Social Innovation Review, an international journal and platform dedicated to social innovation published by the Stanford Center on Philanthropy and Civil Society at Stanford University in California, published on its website and in the Fall 2026 print edition the reportage "The Six-Seat Revolution", written by Dr Luciano Magaldi Sardella, independent journalist and researcher affiliated with the European Open University, and editorially supervised by deputy editor David V. Johnson. In the article, it is argued that the Teatro Edicola attracted attention overseas because the project concentrates cultural innovation, urban regeneration and proximity theatre into just a few square metres: starting from a real urban problem, it recovers an abandoned place with a modest investment, brings performance directly into public space and experiments with a much closer relationship between actors and spectators. From the point of view of theatrical representation, it also highlights how the format, based on micro-stories of five to twelve minutes, taken from great classics such as Goldoni, Chekhov, Ibsen, Euripides and Benni, and on audience rotation every fifteen minutes, transforms the physical limitations of the space into a precise dramaturgical choice, proving to be extremely innovative. All of this makes it possible to address some of the main critical issues in the sector: falling audience numbers, an exclusively elderly audience, reduced resources and distance from traditional cultural venues. The journal also highlights, however, the potential problems: economic sustainability, the need for stable institutional support and the difficulty of replicating the model, which is closely linked to the community and territory of San Severo. A model looking beyond San Severo Despite the difficulties, initial requests for information have already arrived from Lucca and Rome, where there is curiosity about the possibility of getting to know the model more closely and the steps needed to replicate it. The replicability formula, in fact, does not seem to require particularly costly infrastructure: an unused space, a targeted intervention, a cultural idea, in-depth knowledge of the surrounding area and a willingness to return that place to the community can be enough to trigger a new urban function. It is precisely in the disproportion between the modesty of the resources employed and the resonance generated by the initiative that perhaps the most original feature of the Teatro Edicola lies, certainly unique of its kind; there are, however, other examples in Italy of newsstands reused for other purposes: "Edicola 518", a twentieth-century kiosk abandoned in the centre of Perugia, now dedicated to independent publishing, art and cultural production; and in Rome itself, the abandoned newsstand in Piazza Testaccio used temporarily as a stage for a show by Fabio Morgan and the Erno newsstand in the Prati district, which almost every month offers a calendar of events, exhibitions, pop-ups and collaborations with artists and creative enterprises. Small revolutions, therefore, that tell stories of the reappropriation of urban spaces, of creativity and social innovation. And which, it is hoped, will take root in order to look ever further afield.

IL TEATRO-EDICOLA (FRANCESCO GRAVINO) SU “LA STAMPA (SPECCHIO)”, “SIX CHAIRS AT THE TEATRO-EDICOLA” by FRANCESCA TAMBURRINO SOURCE: https://www.lastampa.it/specchio/rubriche/segue-buffet/2026/09/27/news/sei_sedie_al_teatro_-_edicola-15748967/ To the delight of lovers of the genre, the news is reassuring: theatres are back in fashion. Perhaps they had never gone out of fashion but were slightly tarnished by interest in other genres considered more contemporary. Wrong, theatre after millennia withstands wear and negativity reinvigorates it. Halls thought lost are reopening and new spaces are flourishing. Because theatre can be made anywhere, in houses, in streets, on the ashes of spaces born for other purposes. For example in newsstands: in many cities these kiosks sell everything except what they were conceived for, newspapers. The ingenious wheeze is to be found in the Foggia area with the Teatro-Edicola, the smallest theatre in the world, six chairs, less than two square metres, careful programming, performances every fifteen minutes and sold-out is easily guaranteed. A happy experiment that has intrigued even the noble journal of the American Stanford University. The wheeze from San Severo in the Foggia area pleased the students of Stanford so much that they made it a case study. The result was published in the “Stanford Social Innovation Review (SSIR)” quarterly journal and award-winning website given its specific specialisation in covering multisectoral solutions to global problems, considered one of the world reference points for social innovation. The article “The Six-Seat Revolution”, that is to say the Revolution of the Six Chairs, was curated by the Foggian (Orta Nova) researcher Luciano Magaldi Sardella, supervised by editor David V. Johnson and can be retrieved in the Dispatches section of the “Stanford Social Innovation Review”. Imagine the satisfaction of the theatre company Foyer 97 which sees itself projected into global fame and planetary interest, matured into a shower of requests for duplication. After all, who does not have a disused space in a state of abandonment to be recovered worthy of rising to a cultural garrison? Meanwhile the meritorious creators of the winning idea will return to the stage in October and are already preparing the thirtieth anniversary of the company which falls next year. On those six chairs, they assure us, young and old have sat in equal albeit meagre measure. An experiment which in the universe of entertainment is followed with attention. So much so that Biagio Antonacci made a surprise stop at the Teatro-Edicola where he sang his “Iris”. Passers-by in a huddle beyond the sold-out.

"RTL 102.5": THE KIOSK-THEATRE FEATURED IN STANFORD UNIVERSITY'S REVIEW SOURCE: https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.instagram.com%2Fp%2FDdeEUnXiKMT%2F%3Ffbclid%3DIwcGRvZgFleHRuA2FlbQIxMABicmlkETB1OU02c2NZUzNkeWVpb2ZJc3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHhWTgrXrSOqSpbqd0NlmkWW4gNxVEDa-2BmQGWsVUhQQoqC4_J55glcV6Fzu_aem_zWbIIMpp66X9FxYrdVcTmg&h=AUDX8FniZvleWSVlN4ngwxrSLu1IeEzRJGb1DHFgsznthttLc9QR-ahTowPSBcj7rf_yYePu1vaPUXc34NqwzN3m-FtFuy-KM33ftfPsEeZaaYwWOXktve-A-NW0TY9CLHcritIH__2rbzUD5w&__tn__=-UK-R&c[0]=AUCpozNMTPma15kUqGpGsKv6GwFtuWcQmfK3Oj0VtFFsM0cj9rhdH6l9Y-6SLIz8vG2VBro_6pSGTiplv6br8YJx7ZZQnAPeuivIBI0eX8NPUol4JadoLFkhbxd949RZixQc7l2aWhHEkWT6kEVC92069Lsd2AymBya1pXHVw4UabsmzYz1s SAN SEVERO (FG) - The concept of the kiosk-theatre of San Severo, in the province of Foggia, dubbed the smallest theatre in the world, has become a case study for Stanford University. The article The "Six-Seat Revolution", by the Foggia-born researcher Luciano Magaldi Sardella, supervised by Deputy Editor David V. Johnson, has been published in "Stanford Social Innovation Review (SSIR)" - the multi-award-winning publication covering cross-sector solutions to global problems. The article appears in the "Dispatches" section of the "Stanford Social Innovation Review". "This is an achievement that rewards our work," emphasizes Francesco Gravino, Artistic Director of the theatre company Foyer 97. "Requests to replicate the model have come from other parts of Italy, such as Lucca and Rome. We thought of creating a cultural activity from a place that was disused and in a state of abandonment. There ought to be a regional law that makes it possible to convert these disused premises into places where numerous activities can be brought to life. Genuine cultural outposts." Gravino and the company's actors are preparing the new programme. "Next year our company will be 30 years old," he said, "an important milestone that we shall celebrate with a number of new developments." Six chairs, less than two square metres, performances repeated every 15 minutes, and sold-out audiences of young people and adults. An experiment that has aroused curiosity and interest in the world of entertainment as well. Between late July and early August, during his tour in Lucera (Foggia), Biagio Antonacci made a surprise stop at the kiosk-theatre and sang his Iris. "It was truly a wonderful encounter that attracted the attention of passers-by," Gravino concludes.

"QUOTIDIANO DI PUGLIA": THE WORLD'S SMALLEST KIOSK-THEATRE IS IN PUGLIA AND WILL BE STUDIED AT STANFORD UNIVERSITY SOURCE: https://www.quotidianodipuglia.it/AMP/foggia/san_severo_teatro_edicola_puglia_stanford_university-9773347.html SAN SEVERO (FG) - On the eve of the new season, worldwide recognition has come for the kiosk-theatre, the smallest theatre in the world, built in San Severo, in the Province of Foggia: it is to become a case study at Stanford University. The concept of the kiosk-theatre was published in SSIR - the multi-award-winning publication covering cross-sector solutions to global problems - in the article 'The Six-Seat Revolution' by the Foggian researcher Luciano Magaldi Sardella, supervised by editor David V. Johnson. The article appears in the 'Dispatches' section of the Stanford Social Innovation Review. 'It is an achievement that rewards our work,' said Francesco Gravino, artistic director of the theatre company Foyer 97, with pride. In the meantime, he announced that requests have been made to replicate the model in other Italian cities. 'Requests to replicate our theatre model have come from Lucca and Rome. We thought of creating a cultural activity from a place that had been decommissioned and abandoned. What is needed is a regional law that allows for the reconversion of these disused places, in which numerous activities could be brought to life. Genuine cultural outposts.' The new programme, which Francesco Gravino and the actors of the company are preparing, is already in the pipeline. 'Next year our company will celebrate its 30th anniversary,' he said, 'an important milestone that we shall mark with some new developments.' Six chairs, less than two square metres, performances repeated every 15 minutes, and sold-out audiences of young people and adults. An experiment that has aroused curiosity and interest even in the world of show business. Amongst the curious theatre enthusiasts, last summer they also welcomed Biagio Antonacci as a guest. In Lucera, in the Province of Foggia, with his new tour between July and August, during his travels he made a surprise stop at the kiosk-theatre and sang 'Iris'. 'It was truly a wonderful encounter that captivated the attention of passers-by,' Gravino concluded.

"ANTENNA SUD": SAN SEVERO - THE WORLD'S SMALLEST THEATRE BECOMES A STANFORD CASE STUDY SOURCE: https://www.antennasud.com/san-severo-il-teatro-piu-piccolo-del-mondo-diventa-un-caso-di-studio-per-stanford/ SAN SEVERO (FG) - Six chairs, fewer than two square metres, and performances reprised at intervals of fifteen minutes. It was upon such unassuming premises that there came into being, at San Severo, in the province of Foggia, the teatro edicola - the "kiosk theatre" - a diminutive cultural space wrought from a disused and long-abandoned news-stand, which today draws audiences, curiosity, and attention far beyond Italy's borders. The enterprise has been elevated to the dignity of a case study by Stanford University. In the "Stanford Social Innovation Review (SSIR)", the international journal dedicated to innovative solutions to social problems, there has been published the article "The Six-Seat Revolution", authored by the Foggia-based researcher Luciano Magaldi and supervised by editor David V. Johnson. The contribution is featured in the journal's Dispatches section. "It is an achievement which rewards our labour," emphasises Francesco Gravino, artistic director of the theatrical company Foyer 97, the protagonist of the undertaking. The idea is as simple as it is original: to transform a space fallen into disuse into a cultural outpost capable of accommodating petite spectacles and of forging an immediate rapport with the public. The format has already excited interest in other Italian cities. "Requests to replicate the model have reached us from other parts of Italy, such as Lucca and Rome," Gravino recounts. Hence also the appeal for intervention upon disused spaces: "What is required is a regional law affording the possibility of reconverting these places, wherein one might give life to manifold activities. Veritable cultural garrisons." In the kiosk theatre, performances endure but a few minutes, and the public is admitted in small parties. Six seats are available, performances follow one another in close succession, and an audience composed of the young and the adult has responded with constancy, frequently to the extent of being sold out. An experiment which has attracted the attention of the world of entertainment itself. Between the end of July and the first days of August, during his tour in Lucera, even Biagio Antonacci paid a surprise visit to the kiosk theatre. The singer-songwriter tarried within the space and sang Iris, drawing the attention of passers-by. "It was truly a most beautiful encounter which captivated the attention of all," Gravino recalls. Foyer 97 is now preparing its forthcoming programme. Next year, indeed, the company shall celebrate a significant milestone: "It shall attain its thirtieth anniversary, and it is an occasion we shall mark with sundry novelties," Gravino announces.

"FOGGIATODAY": SAN SEVERO'S KIOSK THEATRE FEATURED IN THE "STANFORD SOCIAL INNOVATION REVIEW": THE MODEL WAS A CASE STUDY AT STANFORD UNIVERSITY SOURCE: https://www.foggiatoday.it/attualita/teatro-edicola-san-severo-rivista-stanford-university.html SAN SEVERO (FG) - An article authored by the researcher Luciano Magaldi Sardella in the Stanford Social Innovation Review analyseth the experience of the company 'Foyer 97'. The Artistic Director, Gravino: "Requests for replication have been received from Lucca and Rome; a regional statute for the reconversion of abandoned sites is required." The initiative of the kiosk theatre of San Severo, situated in the Province of Foggia and renowned as the smallest theatre in the world, hath become the object of scholarly analysis at Stanford University. In SSIR - an award-winning periodical devoted to innovative solutions to global problems - there had indeed been published the article The Six-Seat Revolution, written by the Foggia-based researcher Luciano Magaldi under the supervision of the editor David V. Johnson. The article appeareth in the Dispatches section of the "Stanford Social Innovation Review". "It is an achievement that crowneth our labour upon labour," emphasised to ANSA Francesco Gravino, artistic director of the theatre company Foyer 97. "Requests to replicate the model have reached us from other parts of Italy, such as Lucca and Rome. We conceived the idea of engendering a cultural enterprise from a place hitherto disused and in a state of dereliction. What is requisite is a regional law that affordeth the possibility of reconverting these disused places, wherein one might engender a multitude of activities. Veritable cultural outposts." Gravino and the actors of the company are preparing the new programme. "Next year our company shall attain its thirtieth anniversary," he said, "a momentous occasion which we shall celebrate with sundry novelties." Six chairs assembled in less than two square metres, performances repeated every quarter of an hour, and audiences at full capacity, amongst both the young and the adult. An experiment that hath attracted attention and curiosity even within the profession of the stage. Between the end of July and the beginning of August, during the engagement at Lucera (Foggia), Biagio Antonacci paid a surprise visit to the kiosk theatre and performed his Iris. "It was truly a most beautiful encounter that captivated the attention of passers-by," Gravino concluded.

"FOGGIA SERA": FROM SAN SEVERO TO STANFORD UNIVERSITY: THE "SIX-SEAT REVOLUTION" OF THE TEATRO EDICOLA SOURCE: https://foggiasera.it/2026/09/19/da-san-severo-alla-stanford-university-la-rivoluzione-a-sei-posti-del-teatro-edicola-by-luciano-magaldi-sardella/ SAN SEVERO (FG) - The Stanford Social Innovation Review (SSIR), the scholarly journal published by the Stanford Center on Philanthropy and Civil Society of the prestigious Stanford University - ranked second in the world in the Shanghai Ranking of World Universities - and recognised as the pre-eminent global reference for researchers, policy-makers, and practitioners of innovative entrepreneurship and philanthropy, hath published the reportage "The Six-Seat Revolution" upon the Teatro Edicola of San Severo, the smallest theatre in the world by dimension and capacity, born of the intuition of Francesco Gravino, Artistic Director of the Foyer '97 company. Its author is Luciano Magaldi Sardella, independent researcher and international journalist, native of Orta Nova and of maternal Sanseverese extraction, hitherto author of studies published in international academic journals. The piece appeared in the September (Fall 2026) edition of the academic review, within the section devoted to Arts & Culture. A presence that projects San Severo, and more broadly the Capitanata, into the international élite of research upon cultural and urban innovation. The Theatre Is Born of a Disused Newsstand It all commenced on 27 March 2026, World Theatre Day, in Piazza Municipio at San Severo. A news-kiosk, disused for years in Via Matteo Tondi, raised its shutter to reveal, in lieu of newspapers and cigarettes, an actor upon the stage. Within: six chairs. At intervals of fifteen minutes, a new audience took its place. Drawing inspiration from the televisual format of Edicola Fiore by the noted Sicilian presenter of radio and television, there was born the Teatro Edicola, a structure now recognised in the media as the smallest theatre in the world for dimensions and capacity: four square metres in aggregate, with a scenic space of less than two metres. Gravino hath led Foyer '97 for nigh on thirty years, forging a most exacting artistic trajectory in a context - that of southern Italy - historically penalised in respect of public financing for culture. And yet, upon beholding that vacant kiosk, he elected the path of provocation: to transfigure the bare minimum into a manifesto concerning the very meaning of theatre. The Model and its Measurable Effects The inaugural season endured for three days. All performances were sold out. In a single afternoon, upwards of sixty persons attended the representations. The cost of the entire pilot operation was less than three thousand dollars. The formula is radical in its constitutive elements: performances of five to twelve minutes' duration, conceived expressly for the space; rotation of the audience every fifteen minutes; direct and inescapable visual contact betwixt actor and spectator; no architectural or psychological distance betwixt stage and auditorium; ticket proposed at five euros per person, within a hybrid economic model comprising municipal support, local sponsorship, and box-office receipts. According to the analysis published in the Stanford Social Innovation Review, the Teatro Edicola represents a replicable model of low-cost, high-impact urban regeneration, capable of reactivating abandoned commercial spaces (newsstands, tobacconists, telephone kiosks) without recourse to large infrastructural investment. The Voice of Him who Built it All Francesco Gravino entertaineth no doubt as to the import of the enterprise: "Grand theatres are not requisite to transform a fragment of a city. What is requisite is a sound idea and the courage to restore to the collectivity a space that hath lost its function." And upon the import of international recognition: "Teatro Edicola was born to demonstrate that a place of encounter and culture may arise wheresoever, even within two square metres. That this work should today be studied at an international level and that enquiries should arrive from cities such as Lucca and Rome is confirmation that the path pursued is the right one." The director hath further explicated the symbolic choice of place: the newsstand was the locus wherein each morn one paused, informed oneself, and recognised oneself as a community. Its disappearance rent a precise social fabric. To restore unto it a cultural function is to re-stitch that tissue at the very point wherefrom it was torn. The Challenges: Scalability, Institutional Recognition, Entrenchment The SSIR reportage doth not confine itself to celebration of the project but analyseth also the critical junctures. The first is sustainability over time: an activation of three days, howsoever successful, doth not yet constitute a stable programme, a veritable seasonal repertory (weekends from spring to autumn) with a rotating roster of local and regional companies. The second juncture concerneth replicability without loss of identity: the Teatro Edicola functioneth also by virtue of the profound roots of Foyer '97 in the Sanseverese territory. To transplant the model elsewhere requireth not merely a physical kit, but an entire process of community-building. The third obstacle is institutional: in a system of public funding that rewardeth organisations with consolidated premises and predictable output metrics, a project deliberately experimental, hyperlocalist, and by its very nature impermanent strugglest to gain access to the ordinary channels of the Fondo Nazionale per lo Spettacolo dal Vivo (FNSV) of the Ministry of Culture. A Lesson that Travels beyond Puglia In the Stanford Social Innovation Review the author concludeth that the intuitions of the Teatro Edicola transcend the Sanseverese context: in any community wherein cultural institutions struggle to reach youthful, diverse, or economically marginal publics, the principle of proximity proveth disruptive: to encounter people where they already find themselves, in the spaces they inhabit quotidianly. From the populous centre of Daunia to the pages of Stanford University: San Severo and its kiosk demonstrate that six chairs, four square metres, and a vision suffice to alter the manner in which a city conceiveth of itself. And to offer unto the world a model that costeth less than one might credit, yet is worth far more than one might imagine.

"PUGLIA IN": FROM SAN SEVERO TO STANFORD UNIVERSITY: THE 'SIX-SEAT REVOLUTION' OF TEATRO EDICOLA SOURCE: https://www.pugliain.net/301723-san-severo-teatro-edicola/ SAN SEVERO (FG) - The "Stanford Social Innovation Review (SSIR)", the scholarly quarterly published by the "Stanford Center on Philanthropy and Civil Society" at the prestigious Stanford University — ranked second in the world in the Shanghai Ranking of World Universities — and universally regarded as the pre-eminent global point of reference for scholars, policy-makers and practitioners in the fields of innovative enterprise and philanthropy, hath published the reportage “The Six-Seat Revolution” concerning the Teatro Edicola of San Severo, the smallest theatre in the world, born of the intuition of Francesco Gravino, Artistic Director of the Foyer ’97 company. Its author is Luciano Magaldi Sardella, independent researcher and international journalist, a native of Orta Nova with maternal lineage rooted in San Severo, and erstwhile contributor of studies published in international academic journals. The piece appeared in the Septembertide (Fall 2026) edition of the academic review, within the section consecrated to Arts and Culture. A presence which projecteth San Severo, and more broadly the entirety of Capitanata, into the international élite of research on cultural and urban innovation. The theatre is born from a disused newsstand It all commenceth upon 27 March 2026, World Theatre Day, in the Piazza Municipio at San Severo. A newsstand long disused in Via Matteo Tondi raiseth its shutter to reveal, in lieu of newspapers and cigarettes, an actor upon the stage. Within: six chairs. At intervals of fifteen minutes, a new audience taketh its place. Drawing inspiration from the televisual format of "Edicola Fiore" of the celebrated Sicilian radio and television presenter, there was born Teatro Edicola, a structure now recognised in the media as the smallest theatre in the world by both dimension and capacity: four square metres in total, with a scenic space of less than two metres. Gravino hath led Foyer ’97 for nigh on thirty years, forging an exacting artistic trajectory in a context — that of Southern Italy — historically penalised with respect to public funding for culture. And yet, when he beheld that vacant kiosk, he chose the path of provocation: to transmute the bare minimum into a manifesto concerning the very signification of theatre. The model and its measurable effects The inaugural season endured for three days. All performances were sold out. In a single afternoon, upwards of sixty persons attended the representations. The cost of the entire pilot operation was less than three thousand dollars. The formula is radical in its constitutive elements: performances of five to twelve minutes' duration, conceived expressly for the space rotation of the audience every fifteen minutes direct and ineluctable visual contact betwixt actor and spectator no architectural or psychological distance betwixt stage and stalls ticket proffered at five euros per person, with a hybrid economic model envisaging municipal support, local sponsors and box-office receipts According to the analysis published in the "Stanford Social Innovation Review", Teatro Edicola representeth a replicable paradigm of low-cost, high-impact urban regeneration, capable of reactivating abandoned commercial spaces — newsstands, tobacconists, telephone kiosks — without the necessity of substantial infrastructural investment. The voice of him who built it all Francesco Gravino entertaineth no doubt as to the significance of the undertaking: “One doth not require grand theatres to transform a portion of a city. One requireth a sound idea and the courage to restore to the collectivity a space that hath lost its function.” And concerning the import of international recognition: “Teatro Edicola was born to demonstrate that a locus of encounter and culture may arise wheresoever, even within two square metres. That today this labour should be studied at an international level and that enquiries should arrive from cities such as Lucca and Rome is confirmation that the path is the right one.” The director hath also explicated the symbolic choice of place: the newsstand was the point at which, each morn, one paused, one apprised oneself, one recognised oneself as a community. Its disappearance lacerated a precise social fabric. To restore unto it a cultural function signifieth to re-stitch that fabric from the very point at which it was rent. Challenges: scalability, institutional recognition, rootedness The SSIR reportage doth not merely celebrate the project but analyseth also its critical nodes. The first is sustainability over time: an activation of three days, howsoever successful, doth not yet constitute a stable programme, a veritable seasonal programmation (weekends from springtide to autumn) with a rotating roster of local and regional companies. The second node concerneth replicability without loss of identity: Teatro Edicola functioneth also by virtue of the profound roots of Foyer ’97 within the San Severo territory. To transplant the model elsewhere requireth not merely a physical kit, but an entire process of community building. The third obstacle is institutional: in a system of public funding which rewardeth organisations possessed of consolidated premises and predictable output metrics, a project deliberately experimental, hyper-localist and by its very nature impermanent struggleth to gain access to the ordinary channels of the Fondo Nazionale per lo Spettacolo dal Vivo (FNSV) of the Ministry of Culture. A lesson which travelled beyond Puglia In the Stanford Social Innovation Review the author concludeth that the intuitions of Teatro Edicola transcend the San Severo context: in any community wherein cultural institutions struggle to reach youthful, diverse, or economically marginal publics, the principle of proximity proveth disruptive: to meet people where they already are, in the spaces they inhabit quotidianly. From the populous centre of Daunia to the pages of Stanford University: San Severo and its diminutive kiosk demonstrate that six chairs, four square metres, and a vision sufficeth to alter the manner in which a city conceiveth itself. And to proffer unto the world a model which costeth less than one might suppose yet is worth far more than one might imagine.

"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.

SAN SEVERO: "TEATRO EDICOLA" CONQUERS THE "STANFORD SOCIAL INNOVATION REVIEW" SOURCE: https://www.statoquotidiano.it/17/09/2026/il-teatro-edicola-conquista-la-stanford-social-innovation-review/1350500/ The initiative is promoted by the company Foyer '97, under the artistic direction of Francesco Gravino, protagonist of a project of urban and cultural regeneration. The theatre in San Severo is reborn from less than two square metres and a mere six chairs, transforming a disused newsstand in Via Tondi into a singular cultural space capable of attracting attention well beyond the confines of the Province of Foggia. The undertaking is promoted by the company Foyer '97, artistically directed by Francesco Gravino, protagonist of a project of urban and cultural regeneration that has restored a new purpose to a space left unutilised for years. Where once there stood a lowered shutter, today theatre itself is staged. Performances accommodate a maximum of six spectators, with actors in the closest proximity to the audience and productions of brief duration, thereby constructing a direct relationship between the stage and the urban space. The experiment, inaugurated on 27th March, yielded significant results from its earliest days. More than 60 persons attended the performances in a single afternoon, whilst the three days of the inaugural season were fully booked. Figures which attest to the interest aroused by a model founded upon proximity, upon the quality of the cultural offering, and upon the capacity to transform a residual space into a place of encounter. The San Severo experience has thus attained international attention. In September 2026, the Stanford Social Innovation Review devoted to the project the reportage “The Six-Seat Revolution”, authored by Luciano Magaldi Sardella, researcher, academic and international journalist, native of Orta Nova and of maternal San Severo origin. The project is analysed not merely for its distinctive theatrical formula, but also as a potential model of low-cost social innovation and urban regeneration, capable of mobilising resources and cultural capital without the necessity of erecting grand structures or sustaining substantial investment. Francesco Gravino, artistic director of the project, underscores the significance of the experience: “One does not require grand theatres in order to transform a fragment of a city. What is required is a sound idea and the courage to restore to the community a space that has lost its function.” And he adds: “Teatro Edicola was born to demonstrate that a place of encounter and culture may arise anywhere, even within two square metres. That this work 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 pursuing the right course.” The story of the Teatro Edicola thus inscribes itself within the broader theme of the valorisation of the urban patrimony through the creative reclamation of abandoned spaces. A disused kiosk, six seats and a cultural proposition have sufficed to transform a forgotten corner of the city into a place capable of attracting both public and international attention. An example of regeneration commencing from the bare minimum: not to construct a new space, but to return to inhabiting that which already exists.

On tämä perkele Suomessa nykyään yhtä riistoa. Kävin tankkaamassa dieseliä hintaan 2,5 € litra. Puolisen tankkia sain yhdeksällä kympillä. Vitutti. Jospa kuppi kahvia R-kioskilla helpottaisi. Pieni kuppi pahvimukista 2,75 €. Mihin helvettiin tämä maa luisuu? Huomenta #Suomi #polttoaine #hinnoittelu

“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.

Kompromitacja w Krakowie w żadnym wypadku nie obnażyła @SlawomirMentzen i całą resztę błaznów Nowej Nadziei, to jest JEDNA SETNA pełnego obrazu tych politycznych gówniarzy, którzy się do prowadzania kiosku z e-papierosami nie nadają, nie wspominając od rządzeniu na jakimkolwiek szczeblu. #Kraków #Polityka #NowaNadzieja

From Edicola Fiore to San Severo’s Teatro Edicola: Fiorello’s inspiration wins over the prestigious London Daily News SOURCE: https://www.linkedin.com/pulse/from-edicola-fiore-san-severos-teatro-fiorellos-wins-sardella-ph-d--vqxbe/ SOURCE: https://www.londondaily.news/why-londoners-should-discover-san-severo-where-a-disused-newsstand-became-teatro-edicola-the-worlds-smallest-theatre/ The vision of Rosario Fiorello takes tangible form in the revolutionary project conceived by Francesco Gravino of San Severo, artistic director of Foyer ’97. Fiorello’s brilliant intuition behind Edicola Fiore has found new life in the heart of Apulia. Gravino, who leads the historic theatre company Foyer ’97, has traced directly to Fiorello and his multi‑award‑winning television series the inspiration that led him to transform an abandoned news kiosk into what promises to become the smallest theatre in the world. Edicola Fiore was the first to demonstrate how a space originally intended for selling newspapers could be reimagined as a genuine stage, turning the ordinary rhythms of daily life into performance. That lesson was not forgotten: when Gravino found himself before the shuttered kiosk in Via Matteo Tondi, he recognised the potential Fiorello had intuited years earlier. The result, inaugurated on 27 March 2026 to coincide with World Theatre Day, is Teatro Edicola: a venue with only six seats, where eleven actors rotate a repertoire ranging from Goldoni to Chekhov. Performances of ten to fifteen minutes have already drawn hundreds of curious visitors, attracting the attention of the international press, including the prestigious London Daily News, which has hailed the project as a powerful demonstration that regenerative culture does not depend on large budgets but on ideas capable of bringing a community together. The connection with Fiorello is further strengthened by his links with prominent figures in the city, such as Luca and Daniela Sardella, who have supported the initiative. It is an indirect acknowledgement confirming that the Sicilian entertainer’s vision continues to inspire new forms of theatrical expression in Italy.