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The Central and Eastern Europe region wishes to integrate its actions in the digital economy to build a strong common market; however, it currently faces the challenge of effectively connecting its technological potential and competencies. #CEEDigitalSummit #sztucznainteligencja #gospodarkacyfrowa (translated)

September 2026 was the second warmest month in the history of global measurements, and specialists warn that the trend of high temperatures could continue into 2027, exceeding the threshold of 1.5 degrees Celsius compared to pre-industrial levels. #schimbăriclimatice #încălzireglobală #vremeextremă (translated)

The author of the entry described the matter as a crime of the PiS era and claimed that it was committed with premeditation and direct intent. He wrote that the perpetrators wanted to surveil the Polish opposition and civil, legal, and journalistic environments, which is why they were ready to give full control over the data to an Israeli entity. #Polska #Wolność #PrawaCzłowieka #PL #IL (translated)

Sabrina F. claimed that Volodymyr Zelensky was contacting his European allies after Donald Trump suggested he change jobs. She joked about the possibility that he might even call deceased relatives. According to her account, one of the calls was directed to London and the interlocutor was Andy Burnham, whom she referred to as the British Prime Minister. She reported that they would discuss support for Kiev, sanctions against Moscow, and an upcoming meeting, which in her opinion would primarily serve for a photograph, without guarantees on funding. Sabrina F. criticized the European Union, arguing that it promised support in words while the bill would fall on the citizens, and contrasted European statements with American pragmatism. She described Zelensky's phone calls as an attempt to keep a failed project alive. Among the sources she cited were a communiqué from the British government dated October 10, 2026, one from the Ukrainian presidency of the same date, and the Associated Press, also dated October 10, 2026. #Zelensky #Ucraina #PoliticaInternazionale (translated)

Jachcy wrote that Lech Wałęsa spoke out after the elections in Krakow. According to the statement cited by the author, the residents of Krakow effectively hindered Prime Minister Tusk's governance, even though their arguments were minor. The author urged the people of Krakow to stop "stirring things up" and added laughing emojis. #Kraków #LechWałęsa #Tusk (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

Maria Corina Machado, the Nobel Peace Prize laureate and informal leader of the Venezuelan opposition, wishes to return to Venezuela, but claims that the regime of Delcy Rodriguez is hindering her return due to fears of losing power. #Wenezuela #opozycja #nagrodaNobla (translated)

The Secretary of State in the Ministry of Energy, Cristian Bușoi, stated that the risk of a nuclear accident at the Cernavodă power plant is zero, despite the extremely low level of the Danube, which is only 3 centimeters from the critical threshold, and assured that the situation is under control. #Cernavodă #energie #siguranțănucleară (translated)

I understand that elections are approaching (for Trump), but this is a huge blow for Europe. We will see what the European colleagues think about it. A huge blow for Europe is the agreement between Donald Trump and Vladimir Putin on the delivery of Russian oil and oil products to the American and world markets, stated Czech Prime Minister Andrej Babiš at a press conference in Prague on Saturday. #Babiš #Trump #OroszOlaj (translated)

Christer Sfeir wrote about his visit to Pézenas in southern France and described the Hôtel de Flottes de Sébasan, a stone house from the 16th century. According to local tradition, Anna of Austria, the queen of France and mother of Louis XIV, had stayed there during a visit, he wrote. Sfeir recounted that Anna was a Spanish princess who married Louis XIII in 1615 when she was 14 years old. After 23 years without children, she gave birth to her son Louis in 1638. When the king died five years later, the then four-year-old son became king and Anna regent. Sfeir wrote that the royal family was forced to flee Paris during the Fronde and that the rebellion later contributed to Louis XIV's decision to centralize power around himself. He also mentioned Molière's stay in Pézenas during the 1650s with his theater company, which received patronage from the Prince of Conti. Sfeir wrote that Molière encountered people and environments there that later became subjects of his satire. According to Sfeir, Louis XIV visited the city in 1660 and took over the reins of power the following year. He concluded by stating that the house still stood, despite the monarchy and its power struggles being part of history. #Pézenas #historia #Molière (translated)

I understand that there are elections approaching (Trump), but this is a huge blow for Europe. We will see what the European colleagues think about it. A huge blow to Europe is the agreement between Donald Trump and Vladimir Putin on the export of Russian diesel oil – said Andrej Babiš at the press conference in Prague on Saturday. #Európa #Trump #Putyin (translated)

Andrej Babis stated at his Saturday press conference in Prague: "It is a huge slap in the face for Europe" referring to the agreement reached between American President Donald Trump and Russian President Vladimir Putin regarding the American and global market sale of Russian oil and oil products. #Európa #OroszOlaj #Trump (translated)