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So many American Jewish organizations have decided to go full force against El-Sayed because of his criticism of Israel and their own Islamophobia, apparently without realizing the vision of the country advanced by these Christian nationalists will not ultimately be good for any religious minority.

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

The author said their post had been blocked in India under Indian Information Technology rules after they criticised political detentions and called for freedom of protest. They wrote that the restriction showed why free speech mattered and said democracies must tolerate criticism. https://t.co/BCuYZECeCF #FreedomOfSpeech #Democracy #India #IN

Aurelien Tchouaméni said Real Madrid had to win trophies this season, describing that ambition as part of what made the club the biggest in the world. Speaking to France 24, he said criticism should be assessed at the end of the season and added that the team needed to perform better, which he said it had failed to do over the previous two seasons. https://t.co/dEuwQPj3LI #RealMadrid #Trophies #LaLiga #FR #ES

Arthur Schopenhauer: Knowing too many truths about man, I cannot expect anything good from him. Absolute proof of the truth of this statement is the contemplation and possibility of realizing the greatest crime of the destruction of the Earth and all humanity by the ruling global elite, as well as the endless wars and genocides committed by it. What negative qualities in humans did Schopenhauer discover that deeply disappointed him? A blind, irrational, and insatiable drive that governs all people and pushes them towards selfishness and suffering. Inherent selfishness and malice Selfishness is the main driving force of man. It is the desire for one's own well-being, which is often limitless. A person is willing to sacrifice the happiness of others to satisfy even the smallest whims. Malice (malevolence): The desire to cause harm or suffering to another without any personal gain, simply out of envy or sheer cruelty. Schopenhauer believes that humans are the only beings that take pleasure in the suffering of their kind. Lack of true morality. Most people do not possess true compassion. They behave "morally" or "civilized" only out of fear of the law, public opinion, or loss of reputation. If these external constraints are removed, a person quickly reveals their true, savage nature. Intellectual superficiality and stupidity. Schopenhauer was deeply disappointed by the low intellectual level of the majority. According to him, most people are: Herd animals: Prone to blindly follow fashion, authorities, and public opinion rather than think critically. Incapable of higher spiritual pleasures: Satisfied only with material goods, sensory pleasures, and empty conversations. Hypocrisy and falseness The philosopher views social rituals and etiquettes as a mask behind which people hide their hostility and selfishness. Politeness is merely "artificial skin," protecting us from mutual harm with our true intentions. Insatiability and eternal dissatisfaction Humans are doomed to an eternal cycle between desire (which brings pain until fulfilled) and boredom, devaluation, and weariness (which occur immediately after the desire is satisfied). This psychological trap makes people eternally grumbling, ungrateful, and unhappy beings. (translated)

The prices for eggs in supermarkets are expected to rise by up to 20 cents per pack due to increased feed costs and a drought summer, while the domestic poultry industry is expanding its production with more laying hens, especially in the organic and free-range sector, to avoid future shortages. #SPÖ #MichaelLudwig #AndreasRudas (translated)

The new guidance comes as the Trump administration faces mounting criticism over a string of deadly incidents involving ICE officers. The agency downplayed the new measures, insisting they’re mere reminders and that current protocols will continue. #ICE #VehicleStops #LawEnforcement

Turkey’s inflation crisis remains severe. Official CPI inflation was 31.51% year-on-year in August 2026, while the Central Bank kept its policy rate at 37% in September. My criticism of Erdoganomics is clear: years of unconventional monetary policy, political pressure on https://t.co/BRsELx1c4O #Turkey #InflationCrisis #Erdoganomics #TR

The Death of the Insult There was a time when being called an idiot was not a public-health emergency. You were called an idiot. You called the other person an idiot. Perhaps you argued, perhaps you fought, perhaps you laughed, had a beer and forgot about it. That may sound primitive. It was also a social technology. In traditional honor culture, an insult was a challenge: if someone attacked your status, you were expected to answer. Men in particular developed cultures of teasing, mockery and competitive abuse in which the ability to give and take an insult could itself demonstrate confidence. Then came dignity culture, with a liberating idea: you don’t have to care what everyone thinks of you. An insult does not necessarily diminish you. Someone else’s contempt does not become your inferiority simply because they express it. Now something else is emerging. Sociologists Bradley Campbell and Jason Manning describe victimhood culture, in which interpersonal offences increasingly become public grievances. The offended party seeks recognition, an audience and sometimes institutional intervention. The old question was: “Are you going to say that to my face?” The dignity question was: “Why should I care what you think?” The new question increasingly seems to be: “Who can I report this to?” This may illuminate an uncomfortable gender difference. Men have historically been more permitted to insult and confront one another directly, while women have often had greater incentives to avoid direct confrontation and use social pressure, criticism and complaint. Neither pattern is exclusively male or female, but cultural habits matter. The danger is a society so determined to protect people from offence that it forgets to teach them how to withstand it. There is a difference between being harmed and being insulted, between injustice and discomfort, and between demanding justice and demanding that nobody make you uncomfortable. We may have travelled from honor, to dignity, to grievance. And perhaps the most subversive sentence left is also the simplest: “Yes, he insulted you. So what?”

Jean-Luc Mélenchon, the leader of the left-populist movement in France, has proposed that part of the country's national debt, particularly that owed to the French central bank, be cancelled or frozen, a suggestion that has sparked criticism from both political opponents and bankers while gaining some public support. #Prantsusmaa #JeanLucMelchon #riigivõlg

My criticism of António Guterres is fundamental: the UN Secretary-General must defend the UN Charter with absolute clarity, especially when Russia wages a full-scale war against Ukraine. Guterres himself called Russia’s invasion a “blatant violation” of the Charter, but I reject https://t.co/83952tYQST #UNCharter #Guterres #UkraineWar #RU #UA