Seven people were killed in a bloody attack on a bus in Homs, including an employee of a state company, and four others were injured, which fits into the growing wave of violence against the Alawite minority in Syria. #Syria #przemoc #Hims (translated)
The post said Cristiano Ronaldo had returned to Madrid, landing at 2am local time, and had withdrawn himself from Portugal’s national team squad. https://t.co/MAzJUeqXTG #CristianoRonaldo #Madrid #Portugal #PT
Dodik flies to Moscow to meet Vladimir Putin on Tuesday, 29 September — just five days before Bosnia and Herzegovina votes on Sunday, 4 October. The timing is extraordinary. Dodik himself describes the relationship as “continuing cooperation” with Russia. Bosnia and Herzegovina https://t.co/0Q0QOYuUq2 #BosniaHerzegovina #Dodik #Russia #BA #RU
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.
The Deconstructionists and the Preservers The average person assumes that everyone wants the same things and merely disagrees about how to achieve them. But the social fracture we are living through is deeper: people no longer agree on what they want at all. Consider the conflicts dominating the news—crime, the border, online speech, and who raises children. Beneath each is a question rarely acknowledged: Does society corrupt human beings, or does it elevate them above their animal nature? If social constructs are oppressive, then every institution becomes suspect. Hierarchy, cultural norms, the family, and the nation appear to be cages designed to restrain a free creature. The only honest response, in this view, is to tear them down. The belief that society corrupts the individual is not fringe doctrine. It is the creed of much of the elite class governing the West. From Rousseau, who argued that man was born free until society placed him in chains, through Marx, who identified those chains as capital and class, to the postmodernists, who reduced institutions to masks for power, the thread remains unbroken. It is the philosophy of universities, the cultural industry, and the bureaucrats shaped by both. Opposing it is the older conviction of Hobbes and Hegel: that a person stripped of structure is not free, but frightened and dangerous, and that order is what improves him. Hobbes saw that without order, life becomes a war of all against all. Hegel believed that people become fully themselves through family, community, and the rational state. The divide, then, is not simply left against right. It is the deconstructionists against the preservers. The irony the demolishers never grasp is that freedom does not remain after every structure is cleared away. It requires personal responsibility as a cultural habit. When order is destroyed in the name of liberty, society begins to collapse. Something must bear the weight, and the state eventually fills the void—without moving gently. Liberty pursued through demolition produces, with grim reliability, the conditions of slavery. The deconstructionist imagines himself a liberator striking mankind’s chains. In truth, he is the architect of the cage.
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
Swedish media report suspected electoral fraud in Dalarna, including alleged vote-buying and pre-marked ballots favouring Left Party candidate Mohamed Abdukardir Ali. Ali himself is not reported to be suspected of any crime. Voters were allegedly driven to polling stations, #Sweden #Elections #VoteFraud #SE
🚨 BREAKING: The Trump DOJ has charged 12 IMMIGRANTS from Somalia, Syria, Afghanistan, Sudan, and Iraq for running $10 MILLION-worth of FAKE daycare fraud schemes in California 9 of them came into the country as "ASYLUM SEEKERS" or TPS NEWSOM IS COMPLICIT by working to COVER ALL OF THIS UP, and should face charges HIMSELF. Per @AAGMcDonald: "These 12 ghost daycares billed the taxpayer more than $10 million. Money that should have gone to feeding, protecting, and supporting our children." One man, Mohamad Alawad, received over $1.2 MILLION for purportedly providing daycare services. Yet, Alawad WASN'T EVEN IN AMERICA for 120 days he was billing taxpayers for his "home daycare" services. THE CHARGES ARE AS FOLLOWS: WIRE FRAUD – Title 18, U.S.C., Section 1343 • Maximum penalty: Twenty years in prison and $500,000 fine MONEY LAUNDERING – Title 18, U.S.C., Section 1957 • Maximum penalty: Twenty years in prison and $500,000 fine And of course, they'll be forced to pay restitution to taxpayers. Throw the BOOK at them! https://x.com/nicksortor/status/2099943188173594800
A conclusion which follows from the assumption that "the war is embedded in Putinism, just as Putinism is embedded in the war" is that Russia's failure to subjugate Ukraine would inevitably lead to the collapse of Putinism and of Putin himself. This, therefore, should be the goal #Putinism #Ukraine #Russia #RU #UA
He is not in good shape. Today, the Hungarian prime minister voted in Parliament holding a teddy bear. TV Maci, the iconic children’s character from Hungary’s public television, whose editor-in-chief was fired after the prime minister himself called for his dismissal in a https://t.co/YSvP82OUxc #Hungary #PrimeMinister #TeddyBear #HU
Again, even just focusing on Trump himself, the current move is inevitable. I am mystified at how the British deluded themselves into thinking that official US policy for nearly a century isn’t to completely dissolve their influence in the world. They say it OVER AND OVER. 🇺🇸🇬🇧 https://t.co/kPLcERgImG #Trump #USUKRelations #GlobalInfluence #US #GB
Fair play to the tens of thousands on the streets today. Even if Martin couldn't bring himself to utter a single word of criticism, the message to Epstein-Island Trump is clear. We reject his imperialist wars, his cost of living crisis, climate denialism, racism, & misogyny. https://t.co/IeALMa8bpq #FairPlay #JusticeForAll #RejectImperialism #US
I'm so proud of the tens of thousands who turned out to oppose Trump. Even if Micheál Martin couldn't bring himself to utter a single word or criticism, the people's message is clear. We reject Trump's wars, his cost of living crisis, climate denalism, racism and misogyny. https://t.co/PgdHIp5YX0 #OpposeTrump #ClimateAction #StandTogether #IE
Can You Resist Tyranny? The average person today is incapable of governing themselves, which is why so many yearn for a new “system.” They desire an external imposition of control to order their lives in a way they feel incapable of doing for themselves. Riddled with fear, they trade liberty for protection. Ideology recasts their resentment as righteousness. Loneliness drives them to find a herd to become one with. Internal chaos creates a demand for imposed order. When you tell people that the answer to collective madness is not collective action in the opposite direction, they often mistake this for rolling over and accepting defeat. But chaos does not defeat chaos. As Friedrich Nietzsche pointed out, “Madness is something rare in individuals — but in groups, parties, peoples, and ages, it is the rule.” Think about every hero story you’ve ever admired. The hero doesn’t take to the streets and try to convince everyone of his cause. Rather, he confronts evil head-on and puts himself in the line of fire. A well-ordered individual is not harmless or ineffectual. A single competent, strong, and courageous person can carry more weight and value than a mob of NPCs. As Carl Jung said, “a million zeros do not add up to one.” Nor does being well ordered mean being harmless or indiscriminately nice. Such a person must possess strength, aggression, ambition, judgement, competitive instinct, the capacity for force, and the desire for achievement. The question is what these qualities serve. Money, power, and lust, or love, family, and God? If no strong internal ordering principle exists, a movement, leader, ideology, or State will fill the vacuum externally. No one looking for a solution to increasing social insanity can afford to overlook it. All others are contingent on it. The answer is not to dissociate from the world and simply pull yourself together. It is that a disordered individual cannot possibly bring order to his environment. By becoming a man of virtue, he can then carry that order into the roles individuals occupy: father, teacher, pastor, judge, journalist, leader, neighbour, police officer, and citizen.
The Individual as an Antidote to Tyranny The average person today is incapable of governing himself, which is why so many yearn for a new system. They desire external control to order their lives in ways they feel unable to manage themselves. Riddled with fear, they trade liberty for protection. Ideology recasts resentment as righteousness, while loneliness drives them to join a herd. The answer to collective madness is not collective action in the opposite direction. Chaos does not defeat chaos. As Friedrich Nietzsche observed, “Madness is something rare in individuals—but in groups, parties, peoples, and ages, it is the rule.” Think of every hero story you admire. The hero does not retreat from danger or surrender to evil. He confronts it directly and places himself in the line of fire. A well-ordered individual is not harmless or ineffectual. One competent, strong, and courageous person can carry more weight and provide more value than a mob. As Carl Jung said, “A million zeros do not add up to one.” Being well-ordered does not mean being harmless or indiscriminately nice. It means possessing judgment, competitive instinct, the capacity for force, and a desire for achievement. The question is what those qualities serve: money, power, and lust—or love, family, and God? This kind of person is an antidote to tyranny. If no strong internal ordering principle exists, a movement, leader, ideology, or state will fill the vacuum from the outside. The well-ordered individual is not incapable of rage, vanity, resentment, cowardice, or cruelty. Awareness of these shadow aspects helps prevent ideological capture and frees him from the seductive belief that “they are evil and we are good.” Anyone seeking a solution to increasing social insanity must recognize that a disordered individual cannot bring order to his environment. By becoming a person of virtue, he can carry that order into every role he occupies—as a parent, teacher, pastor, judge, journalist, leader, neighbor, police officer, or citizen.
Bessent has trapped himself. He is now going to have to commit to some insanely high buyback. Maybe $100bn or more. If the markets spit that back at him the credibility of the US Treasury is on the line. 🇺🇸🏦 #Buyback #USTreasury #MarketCredibility #US
That's the same problem that Burnham will soon find himself facing. A level of immigration that low results in a lower the rate of economic growth due to a shortage of labour. The FT recently reported that these low figures could cost the UK 4 billion GBP. #Immigration #EconomicGrowth #UKBudget #UK
After “Broadway World”, Marina (1888) from the Teatro Umberto Giordano’s “GIO Festival” in Foggia now reaches the Belgian “Opera Gazet” SOURCE: https://medium.com/@ingnucllms/after-broadway-world-marina-1888-from-the-teatro-umberto-giordanos-gio-festival-in-foggia-73ba01e5f50a SOURCE: https://www.operagazet.com/marina-by-giordano-its-world-stage-premiere-in-foggia/ SOURCE: https://www.operagazet.com/marina-by-giordano-its-world-stage-premiere-in-foggia/ From the homepage of “Broadway World” to the pages of an authoritative international magazine: the world stage première of Umberto Giordano’s youthful melodrama now consecrates Foggia as the capital of a “rediscovered verismo”. There is a destiny that waits, patiently, to be fulfilled. It is the destiny of Marina, a one‑act melodrama with music by Umberto Giordano and a libretto by Enrico Golisciani, composed in 1888 for the celebrated Sonzogno competition and subsequently withdrawn by the composer himself, falling into an oblivion that lasted 138 years. That destiny was fulfilled on 5 June 2026 at the Teatro Umberto Giordano in Foggia, with the World Staging Première of the opera, the inaugural event of the first edition of the “GIO Festival” — “Giordano International Opera Festival”, the new international showcase which, from 5 to 20 June, transformed the Capitanata into a widespread stage devoted to the Maestro from Foggia. A cultural enterprise of European breadth, promoted by the Chamber of Commerce of Foggia together with the Municipality and the Province, supported by the Region of Puglia and the Fondazione Monti Uniti, and capable of restoring to history a fundamental fragment of nascent verismo. The Foggia production — directed by Giandomenico Vaccari, conducted and coordinated by Matteo Dal Maso, with sets and costumes by Alfredo Troisi, lighting by Massimo Russo, and soprano Valeria Sepe in the eponymous role — represented not a mere performance, but the scenic resurrection of an opera long believed lost. Its autograph score was rediscovered only recently at Yale University’s “Beinecke Rare Book and Manuscript Library”, within the “Frederick R. Koch” Collection, thanks to the philological work of the conductor and musicologist of Venetian and German heritage, Andreas Gies, who prepared its critical edition. After the transatlantic resonance that saw the “GIO Festival” reach the homepage of “Broadway World” thanks to the world première of Marina, complete with exclusive photographs of the historic debut, a new and prestigious international recognition now arrives. The authoritative Belgian opera magazine “Opera Gazet” dedicates an extensive musicological review to the Foggia event with the article: “ “MARINA” (by Giordano) — ITS WORLD STAGE PREMIÈRE IN FOGGIA”. An arrival far from secondary. If “Broadway World” marked the opera’s transatlantic debut, “Opera Gazet” now seals its critical consecration among the most discerning and specialised audiences: the melomaniacs, scholars, and professionals of the operatic world. From Foggia to New York, from New York to the circuit of the international opera press. The trajectory of Marina confirms what the “GIO Festival” has sought to demonstrate since its inception: Giordano’s legacy is not a local memory, but a living repertoire, capable of conversing with major stages and with the world’s most prestigious cultural outlets. The rediscovery born in Foggia is now a heritage shared by all.
