Search

Tino explained that writing his book, "100 Tips for Successful Investing," had been one of the most difficult trials of his life. For nearly ten months, his perfectionism had, according to him, caused him doubts, frustrations, short nights, and sometimes tears. He added that the project had also weighed on his health and his private and family life. His partner, with whom he had shared his life for nearly fifteen years, had to accept his absences and the fact that writing sometimes took precedence over their life together, he wrote. Since finishing the book, he had been trying to reconnect with her over the moments that were set aside, while acknowledging that lost time could not really be made up. As the book was meeting with greater success than he had expected, Tino wanted to pay tribute to his partner, believing that without her support, the work probably would not have come to fruition. #Écriture #Amour #Sacrifice (translated)

During an intervention on BFMTV with Sonia Mabrouk, Robert Ménard stated that sometimes one must win a war rather than seek peace with certain adversaries. He mentioned his experience in war zones and asserted that one should not make peace with totalitarian regimes, dictators, and people he deemed abominable. He referred to Vladimir Putin as an "abominable character." #Ukraine #Trump #Poutine #Russie #Europe #Poutine #Russie #Ukraine (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

Joan Laporta stated to SPORT that Barça is experiencing one of the best periods in its history and accused Real Madrid of trying to distract attention and downplay its successes. He claimed that the Negreira case would conclude with the acquittal of the Catalan club. Laporta also believed that Real Madrid was viewed negatively by everyone and was losing its prestige at local, national, and international levels. He added that the club had not had a representative at the EFC recently and that he knew what he was doing. https://t.co/bsELBQJ9Ag #FCBarcelona #RealMadrid #Football (translated)

Actu Foot indicated that Enzo Le Fée had sent a message to the child he once was, on the occasion of World Mental Health Day. The account recalled that the footballer lost his father to suicide in 2021. In this message, Le Fée spoke about his journey to Sunderland in the Premier League and the challenges he had faced in football and his personal life. He encouraged his younger self not to blame himself for uncontrollable events, to keep moving forward and to seek help, emphasizing that talking could be beneficial. He also advised him to rely on the values instilled by his parents and to trust himself. https://t.co/UcuP5PplEi #SantéMentale #PréventionDuSuicide #Football (translated)

Actu Foot reported, citing L’Équipe, that a scout from a European club was questioning the role given to Mika Godts at PSG. According to this scout, recruited for €55 million, the Belgian player had only played 144 minutes in six matches, without being in the starting lineup. He felt that Godts sometimes struggled during matches, was less influential, and directed his play less towards scoring and effectiveness. He doubted that PSG would find a place for him, recalling that Gonçalo Ramos, whom he considered a European-level number 9, had not been able to make a lasting impact in Paris. He was not sure that Godts would escape the same scenario. #PSG #MikaGodts #Football (translated)

Joueur du Grenier indicated that he played Squadron 42, the single-player mode of Star Citizen, in advance and had a good time. He praised the immersion, the richness of the environments and life scenes, which he compared to his walks in Night City, in Cyberpunk. He also enjoyed the first-person combat, the visual effects, the sound design, and the music. According to him, the interface was polished and seemed simpler than that of Star Citizen, perhaps in anticipation of a release on consoles. However, he believed that the game would not be suitable for everyone: out of five hours, about three were devoted to cutscenes, with also long sequences where the player followed characters by walking. He described it as a story-driven game rather than a space simulation or gameplay. Joueur du Grenier also reported issues with finishing, lighting, and textures, but said he encountered neither crashes nor significant blocking bugs. He found the artificial intelligence uneven, with some enemies helping each other or throwing grenades, while others seemed unresponsive. He ultimately compared the game to a dream version of Wing Commander and was pleased to have seen Mark Hamill. #StarCitizen #Squadron42 #Gaming (translated)

Actu Foot reported that Mikel Arteta still had not gotten over the defeat against PSG in the Champions League final. According to the media, the coach had said that he held onto a hurt related to this defeat, referencing Arsène Wenger, and that he wanted to keep this feeling as a source of learning and motivation for himself and others. #LigueDesChampions #Arsenal #Arteta (translated)

Masian expressed concern that Lamine Yamal might be excluded from the Ballon d'Or due to his age, arguing that he would have many more opportunities to win it in the future. He believed that Harry Kane would be a deserving winner but found some arguments put forward by English commentators contradictory, accusing them of favoring nationalism and club interests. According to him, these commentators criticized Yamal for not having made enough of an impact in the World Cup, while acknowledging that he had won it and had been decisive against France in the most difficult match. Masian countered this with Kane's statistics and asked where he had distinguished himself in England's most challenging moments, suggesting that Jude Bellingham, or even Anthony Gordon against Argentina, had been more present. He also pointed out that one of the players in question had been voted the best player in his league, while Michael Olise had received the same title in the Bundesliga. Masian added that Kane had already won the Golden Boot and believed that his supporters should present coherent arguments if they wished to see him win the Ballon d'Or, rather than basing their choice solely on goals and assists. #BallonDor #Football #Lamine (translated)

The moments of internal discussions (announced by Lecornu) really remind me of the yellow vests movement and we know how that ended, or rather how it didn't end. Not far away, Samuel, a high school senior at the same school, believes that "the moments of internal discussions (announced by Lecornu) really remind me of the yellow vests movement and we know how that ended, or rather how it didn't end." #Manifestations #Lycéens #Éducation (translated)

Actu Foot reported that Aurélien Tchouaméni had explained that he had not been 100% physically during the World Cup. He had felt pain from the third or fourth match, or even a little earlier, and felt that his level was not what he could achieve at that time. The player stated that he had taken risks in order to play, in consultation with the medical and technical staff, and had subsequently suffered the consequences. However, he specified that he did not regret anything, adding that this type of situation had already occurred and could happen again. #CoupeDuMonde #Football #Tchouameni (translated)

Aurélien Tchouaméni stated that at 26 years old, players understood the game better and better. When asked about his ambitions with the French team, he added that the new coach was doing a great job and that ambitious players aimed to be selected. He believed that a good performance would eventually open the doors to the selection for them, according to a video from France 24 shared by Actu Foot. https://t.co/df1ccoE7k4 #ÉquipeDeFrance #Football #TCHOUAMENI (translated)

Laura, a victim of incest by her father, her godfather, and a priest, gradually regained memory of these traumas during unexpected moments in her daily life, thus revealing the extent of the violence suffered since her childhood. #inceste #violencesexualité #témoignage (translated)

Loguito Fcb shared a message attributed to Leo Messi on Instagram, in which the footballer said that the day before had been his last match and that he was already feeling nostalgia for wearing the sky and white jersey. He felt he had made the right decision and described his journey as an adventure filled with joy and sadness. Messi thanked his family for their support, as well as his friends, teammates, coaches, and their technical teams. He also paid tribute to Diego, whom he said had helped to elevate his country to the height it deserved and who, according to him, had continued to accompany them from the sky. He expressed his gratitude to the clubs where he had played, thanking them for respecting his attachment to his country and for allowing him to join the national team. Finally, he thanked God and said he would love and miss all those who had supported them. #Messi #Football #ÉquipeNationale (translated)