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no longer resembled a student movement to correct (...) everything that can be corrected. We must "correct (...) everything that can be corrected" on Parcoursup, thus stated Sébastien Lecornu on October 6 during government Q&A on the third day of youth mobilization, without much more detail. I pushed back to the end of October, mid-November, it's not next year or Saint-Glinglin. Moments in which we can change the budget draft. When asked about this on Thursday, Sébastien Lecornu stands by the timeline: "I pushed back to the end of October, mid-November, it's not next year or Saint-Glinglin. Moments in which we can change the budget draft," argued the Prime Minister from the courtyard of Matignon. #Lycéens #Manifestation #Parcoursup (translated)

The author stated that Catalonia and New Caledonia were two nations that aspired to full freedom. He also expressed his solidarity with the democratic cause of the Kanak people and recalled that they had supported Catalonia in the most difficult moments of its recent history. #llibertat #Catalunya #NovaCaledònia #ES #NC (translated)

The author estimated that Félix Tshisekedi was living his last moments in power. He presented several recent events as signs of his isolation: the resumption of diplomatic relations between Belgium and Rwanda, which he referred to as an enemy, the appearance of Joseph Kabila at the head of the politico-military movement FRN without significant condemnation from the international community, and a search conducted by Belgian justice at Tshisekedi's home and that of his close associates. According to the author, the Congolese president had lost his support from Belgium, France, and the United States, while he had no reliable allies in Africa. He criticized those who minimized the significance of these events and argued that Donald Trump had not advanced peace in the DRC despite signing an agreement more than a year ago. Reminding that Bill Richardson had warned Mobutu to leave power or risk being dragged into the street, he urged Tshisekedi to prepare for his departure in order to avoid a repetition of history. #Rdc #Afrique #Politique (translated)

The author spoke of Lola, four years after the events, and expressed his pain when reflecting on what she had endured and the life that, in his view, had been stolen from her. He wrote that she should have grown up, laughed, dreamed, and explored the world, and that words seemed inadequate in the face of what had happened. (translated)

Bernard Quintin expressed his deep sadness after the tragic death of a Brussels police officer on duty. He offered his condolences to the family, loved ones, and colleagues of the officer and expressed his solidarity with the Belgian Police. #Belgique #Police #Solidarité #LU #BE (translated)

BeFootball reported that Vincent Kompany deemed Michael Olise entirely responsible for his red card and believed that he knew he had made a mistake. The coach said that the player regretted penalizing the team, while specifying that he did not think that the team had played poorly. He also told him that his opponent had been smarter than him. Kompany added that, although it was neither a final nor a semi-final, such moments could weigh heavily in a season. #Kompany #Football #CartonRouge (translated)

Luis Enrique stated that Parisian supporters often told him that he had changed their lives. However, he felt that one should not exaggerate the importance of football, reminding that there are things far more important. The coach added that he was touched to know that his work had been able to bring something to people and that he had been able to share strong moments with them and their families. He noted that these testimonials strengthened his motivation and sense of responsibility, and that he had to prove himself worthy of the trust given to him. These words were reported by Actu Foot, according to PSG TV. #PSG #Football #LuisEnrique (translated)

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