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AquinoUpdates stated that Soarinng had been brought back to life thanks to the soul, the hearts, the totems, the blood, and the knife of KendoMurft, and said that Sylvee would be grateful for it all her life. https://t.co/a0V8qFogqx #Agradecimiento #Revival #KendoMurft (translated)

At the Paris Motor Show, about 30 manufacturers, including Citroën with the all-electric revival of the "Duck," present new models and emphasize the importance of European production in the competition against Chinese manufacturers. #Automesse #EuropäischeProduktion #Elektroautos (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

TheVR Pisti wrote that he will need at least a week to prepare the playthrough of Hellraiser: Revival in such a way that he won't have to cut out half of the material and that YouTube won't "kill" it. He added that he doesn't know how others do it, but he thinks it won't be easy. https://t.co/CqGA8RYOfO #Hellraiser #játék #YouTube (translated)

PlayStation News reported that VGC had noted that Evening Star, the studio behind Sonic Mania, was developing the revival of Ape Escape. It also indicated that, according to the outlet, Sony had given several of its classic IPs to smaller external studios in an attempt to revive those franchises. https://t.co/XAYeZkZXwX #ApeEscape #Videojuegos #Sony (translated)

🇩🇪 S&P Global on #inflation: "Turning to prices, September's flash results indicated a revival in inflationary pressures across the private sector. Input costs rose at the quickest rate for four months and one that was well above the long-run series average, with surveyed firms https://t.co/tRvo3mLd27 #inflation #prices #economy #DE

Ce qui est bizarre ds ce revival des gilets jaunes, c’est de voir la presse mainstream en assurer elle-même la promotion. En 2018, elle n’avait rien vu venir. En 2026, elle semble presque vouloir faire apparaître le phénomène avant qu’il n’existe vraiment https://t.co/ENLnGcalJr #GiletsJaunes #Presse #Revival

Steam ha sufrido una vulneración y por ende se han filtrado los trofeos de muchos juegos que saldrán en los próximos meses: ▫️ Ace Combat 8. ▫️ Final Fantasy VII Revelation. ▫️ Persona 4 Revival. ▫️ Persona 6. ▫️ Tomb Raider Legacy of Atlantis. ▫️ Stranger Than Haven. ▫️ Control Resonant. ▫️ Dragon Ball Xenoverse 3. #Steam #Juegos #Filtraciones

The GIO Festival Captures the Attention of Broadway World: International Spotlight on the Staged World Premiere of Umberto Giordano’s Marina SOURCE: https://www.linkedin.com/pulse/gio-festival-captures-attention-broadway-world-staged-sardella-ph-d--pw1qe/ SOURCE: https://www.immediato.net/2026/08/20/il-gio-festival-conquista-broadway-world-riflettori-internazionali-sulla-prima-scenica-di-marina-di-umberto-giordano/ The prestigious American outlet has devoted an extensive feature to the production presented at the Teatro Giordano in Foggia. The opera, composed in 1888 and left without a true staging for almost 140 years, has returned to life within the festival directed by Gianna Fratta and Dino De Palma. The staged world premiere of Marina, a youthful work by Umberto Giordano, has brought Foggia onto the pages of the international press. Broadway World, a US publication specialising in the performing arts, has dedicated a substantial article to the production presented on 5 June at the Teatro Umberto Giordano as part of the GIO Festival. Luciano Magaldi Sardella, in a communication sent to several editorial offices, highlighted the international resonance of the event, noting that it has attracted attention even overseas. The title chosen by Broadway World is unequivocal: “Marina, Umberto Giordano’s Lost Opera, Makes World Stage Premiere in Foggia.” An opera left in the shadows for nearly 140 years Marina was composed in 1888 by Giordano, then barely in his twenties and still a student at the Naples Conservatoire. The opera was submitted to the second edition of the Sonzogno Competition in Milan, but did not win and remained essentially forgotten for decades, even as the composer from Foggia would later achieve acclaim with works such as Andrea Chénier and Fedora. According to the feature, the score received its first concert performance only at the beginning of 2026 at the Teatro Dal Verme in Milan. The Foggia production, however, marked the opera’s true staged debut, in the theatre that bears Giordano’s own name. The staged premiere at the Teatro Giordano The production was presented on 5 June during the GIO Festival. Artistic direction was entrusted to Gianna Fratta and Dino De Palma, while the staging was directed by Giandomenico Vaccari. As reported by Broadway World, the production relocated the narrative to the period of the First World War, emphasising the dramatic and realistic character of the opera. Valeria Sepe performed in the role of Marina, while the Orchestra Sinfonica of the Conservatorio Umberto Giordano in Foggia was conducted by Matteo Dal Maso. The cast also included Samuele Simoncini as Giorgio Lascari, Elia Fabbian and Cüneyt Ünsal, and the Chorus of the Fondazione Teatro Petruzzelli, prepared by Marco Medved. Broadway World celebrates Foggia The American publication underscores the historical significance of the initiative and the bond between the composer and his native city. The symbolic value is considerable: in the theatre named after Giordano, Foggia has hosted for the first time the complete staged version of an opera that had remained outside the repertoire for more than a century. The feature also highlights the musical quality of the score, described as surprisingly mature for the composer’s age and already capable of anticipating elements that would later characterise Giordano’s subsequent works. A festival spanning Foggia, the Gargano and the Monti Dauni The GIO Festival—Giordano International Opera Festival—was promoted by the Chamber of Commerce of Foggia in partnership with the Municipality and the Province, with support from the Region of Apulia and Puglia Culture. The initiative involved not only the provincial capital but also the Gargano and the Monti Dauni, with a programme ranging across opera, jazz, cinema, dance, chamber music and scientific outreach. The festival concluded on 20 June with Andrea Chénier in Piazza Cavour, in a production originating at La Scala in Milan and brought to Foggia for the occasion. Gianna Fratta conducted the Chorus and Orchestra of the Teatro Petruzzelli. Foggia’s image beyond Italy’s borders The prominence achieved by Marina also represents an important result for the region’s cultural profile. The festival’s narrative seeks to enhance Foggia’s cultural heritage through one of its most emblematic figures. The appearance of the production on the pages of Broadway World reinforces this international dimension, transforming the revival of a forgotten opera into an opportunity for cultural promotion for the entire Capitanata.

THE WORLD PREMIERE OF MARINA AT FOGGIA’S “UMBERTO GIORDANO” THEATRE AND THE GIO FESTIVAL REACH THE STAGE OF NEW YORK’S BROADWAY WORLD SOURCE: https://www.linkedin.com/pulse/world-premiere-marina-foggias-umberto-giordano-gio-sardella-ph-d--fckpe/ SOURCE: https://www.broadwayworld.com/bwwopera/article/MARINA-Umberto-Giordanos-Lost-Opera-Makes-World-Stage-Premiere-in-Foggia-20260816?fbclid=IwY2xjawTvAJtwZG9mAWV4dG4DYWVtAjEwAGJyaWQRMFVieGZUZjlJTHlycjJucmVzcnRjBmFwcF9pZBAyMjIwMzkxNzg4MjAwODkyAAEeb4UykSs2J3TSMIe2ngfG85cNUsT_wKgdcTP_6Qz1gaj8KV8pw8dJ7nU5Fk0_aem_Zewl9iCLWLv80771fs7YOg TITLE: MARINA, UMBERTO GIORDANO'S LOST OPERA, MAKES WORLD STAGE PREMIERE IN FOGGIA. As a native of Foggia, I am profoundly delighted to share my article, published alongside New York City editor Rachel Stone, on the prestigious... BROADWAY WORLD (NEW YORK CITY) — the world’s largest international platform devoted to theatre and opera, with over 5.5 million monthly global visits. The outlet has released an in‑depth feature on the world premiere of Marina by Umberto Giordano, presented in Foggia by the GIO Festival (Giordano International Opera Festival). A RECOGNITION THAT TRANSCENDS MERE REPORTAGE The New York publication describes the revival of Marina as a historic event for global operatic culture, emphasising the artistic, philological, and production excellence of the project, as well as Foggia’s emerging centrality as a locus of cultural innovation. A DECISIVE STEP FOR FOGGIA AS A NATIONAL AND INTERNATIONAL CAPITAL OF OPERA This international coverage: - strengthens global visibility for the Festival and the Umberto Giordano Theatre; - enhances the value of the artists, technicians, and institutions involved; - confirms Foggia’s role as a new international centre for contemporary opera. We are proud to see our territory portrayed from New York as a place capable of generating culture, vision, and future.

O povo russo vive numa ditadura que espartilha os seus direitos e que procura expandir a agenda imperialista e revivalista da era soviética. Esta não é a hora de acusar fadigas de guerra. É a hora de ser firme, com responsabilidade, com um regime que não vai parar de nos testar. #Ditadura #Imperialismo #Responsabilidade #RU

„Ukazuje se, že forma slušné a diplomatické komunikace je pro někoho těžko pochopitelná.“ Celé vyjádření @prezidentpavel k Macinkově revivalu SMS kauzy máte na @Aktualnecz ⬇️ ✉️ https://t.co/j8rRSPUD1Z What a week huh? Captain, it's Wednesday. https://t.co/V8OpiyuFFy #komunikace #diplomacie #politika

Es curioso ver cómo varios juegos que probablemente estaban previstos para lanzarse entre noviembre y diciembre terminaron retrasándose hasta febrero de 2027. ▫️ God of War Laufey. ▫️ Fable. ▫️ Metro 2039. ▫️ Tomb Raider LoA. ▫️ Persona 4 Revival. Todo para evitar a GTA 6. https://t.co/CnYjI90EFg #Videojuegos #Lanzamientos #Gamer

SORTIES : Le mois de Février 2027 est particulièrement agressif en grosses sorties avec désormais en 12 jours à peine ⬇️ • Tomb Raider Legacy of Atlantis (12 Février 2027) • God of War Laufey (16 Février 2027) • Persona 4 Revival (18 Février 2027) • Fable (23 Février 2027) • Metro 2039 (Février mais sa date précise sera peut être révélée à la Gamescom) #JeuxVidéo #SortiesJeux #Gaming2027

London newcomers Mouth Ulcers announce debut EP ‘Silent Pictures’, set for release July 10th via LAB Records. Emerging from the capital’s shadowy underground, the fast-rising four-piece are redefining modern goth through a lens of post-punk revivalism and cinematic atmosphere. Formed in 2025 by vocalist/guitarist Zak Watson, alongside Josephine Rose (guitar/vocals), Jamie-Lee Culver (bass) and David Zbirka (drums), the group have quickly evolved from a spontaneous studio experiment into one of the UK’s most talked-about acts. https://hvdommelen.nl/lp/MouthU.html