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Impact accused France 2 and M6 of boycotting Jean-Luc Mélenchon's meeting in Clermont-Ferrand, which reportedly gathered more than 11,000 people, according to reliable sources. He questioned the impartiality of the two channels, one of which belongs to public service, due to their lack of coverage. #JeanLucMelenchon #Médias #Impartialité (translated)

🚨 IA à l’école : tuteur pour les élèves, assistant pour les agents, formation massive. La feuille de route 2026-2027 de l’Éducation nationale, utile aussi aux acteurs de la prévention. 📒 Une IA utile, humaine et souveraine pour les services publics » — Feuille de route 2026 / 2027 ✍️ Ministère de l'Education nationale Capsules Audio de Pratiques en Santé 🎙️🎥 https://www.youtube.com/watch?v=N0S26wLjpyk Analyse de Pratiques en Santé et lien vers la source ℹ️➕ https://www.pratiquesensante.com/blog/pratiques-15/une-ia-utile-humaine-et-souveraine-pour-les-services-publics-feuille-de-route-2026-2027-6253 📌Pour les personnels de l'Éducation nationale, le document présente les outils d'IA que le ministère met à leur disposition ou prévoit (p. 2-5). Pour les enseignants, ce sont des outils d'appui à la préparation des séquences, à l'évaluation, à la différenciation et à la correction, ainsi qu'un tuteur IA pour les élèves. Pour les personnels administratifs, ce sont l'Assistant IA souverain et des fonctions d'IA dans la messagerie, dont une réécriture des communications pour l'accessibilité. Le document situe aussi l'offre de formation, avec le Lab IA ouvert depuis mars 2026, les plans académiques déjà déclinés et Pix IA, inscrit au calendrier (p. 4-5). Il indique enfin comment s'impliquer : par les communautés CRÉIA et GARRYA, par la Forge des communs numériques éducatifs ou par l'appel à projets pour l'appui au geste professionnel enseignant prévu au T3-T4 2026 (p. 2, 4, 5). Les acteurs extérieurs à l'Éducation nationale qui interviennent en milieu scolaire, en particulier en prévention, en promotion de la santé, dans le social ou l'associatif, y trouveront de quoi comprendre l'environnement numérique des écoles et des établissements. Ils y découvriront les outils d'IA que les élèves et les personnels vont progressivement utiliser, le principe affirmé de contrôle humain sur la machine et le cadre d'usage de l'IA en éducation publié en 2025, qui sert de référence commune (p. 2). Le calendrier leur permet aussi d'ajuster leurs interventions sur les usages numériques à l'état d'avancement annoncé (p. 5), en vérifiant les déploiements réels auprès de l'académie concernée. 🇬🇧:A useful, human and sovereign AI for public services » — Roadmap 2026 / 2027 - A useful, human and sovereign AI for public services » — Roadmap 2026 / 2027 #️⃣ #pratiquesensante #IntelligenceArtificielle #IAenÉducation #ÉducationNationale #LittératieNumérique #FALC #ServicePublic #MilieuScolaire

Given the rise in interest rates and the inadequate budget proposed by Sébastien Lecornu and Emmanuel Macron, I am announcing to you right now that we are adjusting the necessary savings to 140 billion euros net by 2032 compared to 2026. In addition to increased efforts against fraud, Marine Le Pen announced the withholding of VAT at the source, which she claims represents a gain of around 26 billion euros. #Economie #BrunoRetailleau #DeficitPublic (translated)

Jon De Lorraine stated that a cyberattack targeted the refrigerated facilities of several French brands, including Intermarché, Leclerc, and Super U. According to his message, the hackers exploited control systems from the manufacturer Danfoss and hijacked the defrost function, causing continuous operation and set temperatures reaching 50 °C. He indicated that around 150 Intermarché stores would be affected and that stock of fresh and frozen products would have been destroyed. In Haguenau, in Alsace, two supermarkets reportedly suffered losses of 270,000 euros, he wrote, adding that the national toll could reach several million euros. He cited BFM and Je Bosse en Grande Distribution as sources and specified that the assessments were still provisional. #Cyberattaque #SécuritéInformatique #Supermarchés (translated)

🧭 40 ans après la Charte d’Ottawa, Theresa Tam soutient qu’il ne faut pas remplacer les principes de la promotion de la santé, mais les appliquer aux crises actuelles. 📒 La promotion de la santé à l’ère des bouleversements : appliquer des principes durables dans un monde qui change ✍️ Theresa Tam, Agence de la santé publique du Canada, Ottawa Health promotion in an era of disruption: applying enduring principles in a changing world Capsules Audio de Pratiques en Santé 🎙️🎥 https://www.youtube.com/watch?v=JVxNrN_JZ9U Analyse de Pratiques en Santé et lien vers la source ℹ️➕ https://www.pratiquesensante.com/blog/pratiques-15/la-promotion-de-la-sante-a-l-ere-des-bouleversements-appliquer-des-principes-durables-dans-un-monde-qui-change-6252 📌 Pour les acteurs de la promotion de la santé, cet éditorial permet de relire les principes de la Charte d'Ottawa au regard des bouleversements récents décrits par l'autrice : COVID-19, urgences climatiques, crise des drogues toxiques, évolutions démographiques, transformation numérique, défiance et désinformation (p. 1). Il apporte des arguments pour défendre trois idées : investir dans le bien-être renforce aussi la résilience face aux crises (p. 1-2) ; la promotion de la santé gagne à sortir des silos et à s'associer à la gestion des urgences, aux soins, à l'éducation et aux politiques sociales, environnementales, économiques et numériques (p. 2, p. 3-4) ; les espaces numériques, en particulier ceux des enfants et des jeunes, font désormais partie des milieux de vie à prendre en compte (p. 3). Il invite enfin à choisir des mots qui parlent aux décideurs et aux communautés, comme bien-être, résilience communautaire, confiance ou cohésion sociale, sans renoncer au fond de la démarche (p. 3). 🇬🇧: Health promotion in an era of disruption: applying enduring principles in a changing world - https://www.pratiquesensante.com/en/blog/practices-15/health-promotion-in-an-era-of-disruption-applying-enduring-principles-in-a-changing-world-6252 #️⃣ #pratiquesensante #PromotionDeLaSanté #ChartedOttawa #BienÊtre #Résilience #ÉquitéEnSanté #SantéNumérique #Intersectorialité

Bastion indicated, citing BFMTV, that the principal of the Joseph-Lakanal college in Aubagne and a 37-year-old teacher had been injured by shotgun fire. He added that a 14-year-old minor, identified as the perpetrator, had been apprehended. #Aubagne #Violence #Éducation (translated)

Jon De Lorraine reported, citing BFMTV's live broadcast at 10:45 a.m., that the principal of Joseph-Lakanal College in Aubagne had been shot in the lower body on Monday morning. He also indicated that a 37-year-old teacher had been injured, that a shotgun had been used, and that a 14-year-old teenager had been arrested. #Aubagne #Sécurité #Violence (translated)

AFRICA DAILY REPORT — 12 OCTOBER 2026 Key developments of past 24 hours 1. DJIBOUTI — Migrant boat disaster: at least 139 dead IMPORTANCE: 10/10 — CRITICAL The IOM reported 139 deaths, 84 people missing and 82 survivors after a boat carrying 305 migrants capsized near Obock while travelling toward Yemen. Search operations and survivor assistance continue. SOURCE (Reuters, 11 October): https://www.reuters.com/world/africa/109-migrants-including-15-children-dead-after-boat-djibouti-yemen-capsizes-un-2026-10-11/ 2. SUDAN–EGYPT BORDER — Airstrike kills at least 13 miners IMPORTANCE: 9/10 — VERY HIGH The Sudan Doctors Network said an airstrike on an artisanal gold mine in the border triangle killed at least 13 miners and wounded 28. The aircraft's operator has not been identified. SOURCE (Associated Press, 11 October): https://apnews.com/article/445367c8aa73005c2ade4b8999b68259 3. ETHIOPIA — Flights resume to Mekelle after federal-allied forces enter city Commercial flights resumed after weeks of interruption. Getachew Reda, an adviser to Prime Minister Abiy Ahmed, pledged changes in Tigray; the region's political and security future remains uncertain. SOURCE (Associated Press, 11 October): https://apnews.com/article/2c6ebeb250cbf98852ab32bf2f36a04a 4. ERITREA–ETHIOPIA — Eritrea seeks UN intervention Eritrea appealed for UN action amid accusations from Ethiopia that Eritrean troops had crossed into Tigray. Eritrea denied the incursion. The conflicting claims have not been independently verified in full. SOURCE (Africanews, 11 October): https://www.africanews.com/2026/10/11/eritrea-uges-united-nations-to-intervene-in-standoff-with-ethiopia/ 5. KENYA — No new Ebola cases after 293 tests IMPORTANCE: 9/10 — VERY HIGH Kenya's health ministry reported no additional infections after 293 tests following a fatal imported Ebola case. Contact tracing and monitoring continue. SOURCE (Reuters, 11 October): https://www.reuters.com/business/healthcare-pharmaceuticals/kenya-finds-no-new-ebola-cases-after-293-tests-2026-10-11/ 6. NAMIBIA — Veterinary fence construction starts to contain foot-and-mouth disease IMPORTANCE: 8/10 — HIGH Namibia began construction of a cordon fence along the Orange River. Officials reported 17 affected farms in the ||Kharas region and expect fence completion within four months. SOURCE (The Namibian, 11 October): https://www.namibian.com.na/fmd-fence-construction-begins-in-kharas/ 7. NIGERIA — Lagos targets 3,000 MW electricity supply by March 2027 IMPORTANCE: 8/10 — HIGH Governor Babajide Sanwo-Olu announced plans to raise Lagos electricity supply from below 1,000 MW to more than 3,000 MW using grid power, independent projects and embedded generation. This is a target, not delivered capacity. SOURCE (Premium Times, 11 October): https://www.premiumtimesng.com/regional/ssouth-west/916178-sanwo-olu-targets-3000mw-electricity-supply-for-lagos-by-march-2027.html 8. UGANDA — Digital-finance fraud losses highlighted IMPORTANCE: 8/10 — HIGH The EastAfrican reported 6,533 financial-fraud cases in January–August 2026, with approximately 23.5 billion Ugandan shillings lost. The findings underline risks to banks and mobile-money users. SOURCE (The EastAfrican, 11 October): https://www.theeastafrican.co.ke/tea/business-tech/how-scammers-are-stealing-from-ugandans-5627280 9. EGYPT–MALAYSIA — Leaders discuss regional security and economic cooperation President Abdel Fattah el-Sisi and Prime Minister Anwar Ibrahim discussed regional conflicts and signed four cooperation memoranda concerning women's empowerment, higher education, tourism and investment. SOURCE (Africanews/AP, 11 October): https://www.africanews.com/2026/10/11/egypt-and-malaysia-discuss-political-settlement-to-middle-east-conflict/ 10. CEUTA / MOROCCO–SPAIN — Police clear migrant beach camp Spanish police cleared the remaining major beach encampment in Ceuta before a royal visit. Migrants were transported to reception centres for processing, while some fled the operation. SOURCE (Africanews/AFP, 11 October): https://www.africanews.com/2026/10/11/spainish-police-clear-last-ceuta-migrant-beach-camp-ahead-of-kings-visit/ #AfricaNews #AfricaDailyNews #AfricaDailyReport #TopNewsOfAfrica #AfricaNews2026 #AfricaOctober2026 #AfricanPolitics #AfricanEconomy #AfricanSecurity #Djibouti #DjiboutiBoatDisaster #DjiboutiMigrantTragedy #139MigrantsDead #Obock #DjiboutiYemenMigration #IOM #MigrationCrisis #HornOfAfrica #Kenya #KenyaEbola #EbolaOutbreak #EbolaTesting #EbolaContactTracing #DRCongo #AfricanPublicHealth #Sudan #SudanEgyptBorder #SudanAirstrike #SudanGoldMineAttack #SudanConflict #Ethiopia #TigrayConflict #Mekelle #EthiopiaEritrea #Eritrea #UNSecurityCouncil #AbiyAhmed #Namibia #FootAndMouthDisease #NamibiaLivestock #OrangeRiver #Nigeria #Lagos #NigeriaElectricity #Lagos3000MW #EnergyInfrastructure #Uganda #DigitalFinanceFraud #MobileMoneyFraud #AfricanCybersecurity #Egypt #Malaysia #EgyptMalaysiaRelations #AbdelFattahElSisi #AnwarIbrahim #InternationalCooperation #Morocco #Spain #Ceuta #MoroccoSpainMigration #MigrantCrisis #HumanitarianCrisis #AfricanGeopolitics #AfricanDevelopment #RegionalSecurity #AfricaToday #AfricaTomorrow #WRLD #WRLDorg

UP MAGAZINE NYC: "TEATRO EDICOLA" THE THEATER THAT LIVES BETWEEN THE UNDERGROUND AND THE SKY" SOURCE: https://upmag.com/theater-between-underground-and-sky/ SAN SEVERO (FG) - Teatro Edicola, inaugurated on World Theatre Day 2026 in a disused newsstand on via Tondi, San Severo, Puglia, by Francesco Gravino's company Foyer '97. Housing six spectators at fifteen-minute intervals, the project claims status as the world's smallest theatre. Situated alongside the 2011 bell-tower performance forty-five metres above the city and the 2016 "Teatro Cantina" underground, it articulates a vertical proximity dramaturgy spanning sky, pavement, and depth.

"UP MAGAZINE NYC - "TEATRO EDICOLA" THE THEATER THAT LIVES BETWEEN THE UNDERGROUND AND THE SKY" SOURCE: https://upmag.com/theater-between-underground-and-sky/ SAN SEVERO (FG) - Il "Teatro-Edicola", è stato inaugurato in occasione della Giornata Mondiale del Teatro 2026 in un'ex edicola dismessa di via Tondi, a San Severo, in Puglia, dalla compagnia Foyer '97 di Francesco Gravino. Con una capienza di sei spettatori e ingressi scaglionati ogni quindici minuti, il progetto rivendica il titolo di teatro più piccolo al mondo. In dialogo con la performance del 2011 sul campanile, a quarantacinque metri d'altezza sulla città, e con il "Teatro Cantina" del 2016 nel sottosuolo, articola una drammaturgia della prossimità verticale che abbraccia cielo, strada e profondità. Facendo riferimento alla teoria site-specific e all'estetica relazionale, il saggio interpreta questo trittico come forma di resistenza civica all'abbandono e come fenomenologia della memoria collettiva radicata nei luoghi del Sud Italia.

Julien Bahloul wrote that logistical difficulties had upset him in the morning, but he had regained his smile by remembering that Olivier Faure had been humiliated during the left primary. He described this humiliation as a delightful punishment for Faure, whom he criticized for often choosing LFI to keep his seat. #Logistique #Humour #Politique (translated)

UP MAGAZINE NEW YORK CITY: “FROM YALE UNIVERSITY TO FOGGIA: GIORDANO’S MARINA HITS THE WORLD STAGE AT GIO FESTIVAL” SOURCE: SOURCE: https://upmag.com/gio-festival/ FOGGIA (FG) — Smarrita per 138 anni alla Beinecke Library di Yale, Marina (1888) di Umberto Giordano, presentata nel 1888 al concorso Sonzogno e ritirata, è tornata a vivere grazie alla ricostruzione di Andreas Gies ed Emanuele d’Angelo. Dopo il concerto al Dal Verme di Milano nel febbraio 2026 inciso da Decca, ha avuto la scenica il 5 giugno al Teatro Giordano di Foggia, inaugurando il GIO Festival. Sedici giorni, sette comuni della Capitanata, venti eventi tra opera, jazz e danza, chiusi il 20 giugno in Piazza Cavour con l’Andrea Chénier della Scala: l’opera come intervento urbano che ridisegna identità e futuro cittadino.

UP MAGAZINE NEW YORK CITY :”FROM YALE UNIVERSITY TO FOGGIA: GIORDANO’S MARINA HITS THE WORLD STAGE AT GIO FESTIVAL” SOURCE: https://upmag.com/gio-festival/ FOGGIA (FG) — Lost for 138 years in Yale’s Beinecke Library, Marina by Umberto Giordano — entered for the 1888 Sonzogno Competition and subsequently withdrawn — has been brought back to life thanks to the critical reconstruction by Andreas Gies and Emanuele d’Angelo. Following the concert at the Dal Verme in Milan in February 2026, recorded live by Decca, it received its staged premiere on 5 June at the Teatro Giordano in Foggia, inaugurating the GIO Festival. Sixteen days, seven municipalities of the Capitanata, twenty events spanning opera, jazz, and dance, concluding on 20 June in Piazza Cavour with La Scala’s Andrea Chénier: opera as urban intervention reshaping civic identity and future.

UP MAGAZINE NEW YORK CITY :”FROM YALE UNIVERSITY TO FOGGIA: GIORDANO’S MARINA HITS THE WORLD STAGE AT GIO FESTIVAL” SOURCE: https://upmag.com/gio-festival/ FOGGIA (FG) — Lost for 138 years in Yale’s Beinecke Library, Marina by Umberto Giordano — entered for the 1888 Sonzogno Competition and subsequently withdrawn — has been brought back to life thanks to the critical reconstruction by Andreas Gies and Emanuele d’Angelo. Following the concert at the Dal Verme in Milan in February 2026, recorded live by Decca, it received its staged premiere on 5 June at the Teatro Giordano in Foggia, inaugurating the GIO Festival. Sixteen days, seven municipalities of the Capitanata, twenty events spanning opera, jazz, and dance, concluding on 20 June in Piazza Cavour with La Scala’s Andrea Chénier: opera as urban intervention reshaping civic identity and future.

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

LETTERE MERIDIANE — IL TEATRO-EDICOLA DI SAN SEVERO CONQUISTA IL MONDO SOURCE: SOURCE: https://www.letteremeridiane.org/2026/10/il-teatro-edicola-di-san-severo-conquista-il-mondo/?fbclid=IwY2xjawU4oqFleHRuA2FlbQIxMQBwZG9mAXNydGMGYXBwX2lkEDIyMjAzOTE3ODgyMDA4OTIAAR5rVEwYs6UUXg7v-P0SyIQ_DRb_F6ZiY58OcseYoV4J7atcTiERnhWaqKM2pw_aem_Njle1jq1XLzHr93KLBUcVA Dopo Broadway World, Los Angeles Journal, The Psychologist (British Psychological Association) ed Hollywood Beat Magazine, ora è arrivata la sua “consacrazione accademica” a cura della Stanford University. Come ho già sottolineato nel mio articolo sulla rivincita del GIO Festival a Foggia, celebrata dal BroadwayWorld per la prima mondiale scenica della giordaniana Marina (1888), la provincia di Foggia ha smesso ormai di essere periferia. Accade quando trova un’idea che sposta le coordinate: ebbene, a San Severo, a 40 chilometri da Foggia, è successo di nuovo. Solo che questa volta non serviva un’orchestra, ma sono bastate sei sedie. Il celebre Teatro-Edicola del sanseverese direttore artistico Francesco Gravino della Compagnia Teatrale Foyer’97 è finito sulla rivista accademica Stanford Social Innovation Review (SSIR) in qualità di caso di studio accademico. La notizia, rilanciata il 19 settembre 2026 da ANSA Nazionale, sembrava un refuso. Poi si è capito che non lo era. La SSIR, pubblicazione pluripremiata che copre soluzioni multisettoriali ai problemi globali, ha inserito il progetto nella sezione Dispatches con il reportage The Six-Seat Revolution. È il percorso inverso rispetto a quello del GIO Festival: non un’opera dimenticata che torna in un grande teatro storico italiano a ferro di cavallo, ma un teatro intero che rinasce dentro un luogo dismesso, dimenticato dall’uomo. Ci sono momenti in cui il passato e il futuro si intrecciano per creare qualcosa di visionario, innovativo, artisticamente “rivoluzionario”: San Severo ha vissuto uno di questi momenti la mattina del 27 marzo 2026, durante la Giornata Mondiale del Teatro, quando la saracinesca di un’edicola chiusa da sei anni in Via Matteo Tondi è stata riaperta “non per vendere giornali, ma per offrire emozionanti storie”, citando il motto graviniano. L’idea del visionario Francesco Gravino (nella foto sopra), direttore artistico, regista e attore della compagnia sanseverese Foyer ’97, attiva da almeno 30 anni in Capitanata si è basata sull’edicola, esagonale in metallo e vetro, concessa a titolo gratuito dal proprietario Pino Frau, ormai un relitto urbano creato dalla crisi dell’editoria degli inizi anni 2000: oggi in Italia le edicole attive sono scese da circa 35.000 nel 2005 a circa 20.000 nel 2024, con un calo del 42,8%. Gravino e altri undici attori l’hanno ristrutturata in due settimane di lavoro, senza fondi istituzionali, e l’hanno trasformata in quello che oggi è sotto esame della commissione londinese del Guinness World Record come “teatro più piccolo del mondo”. La formula è volutamente austera: sei spettatori alla volta fuori, attori dentro a meno di un metro, spettacoli di 15 minuti, rotazione continua dalle 11 alle 20.45, testi da Goldoni a Čechov, da Ibsen a Dacia Maraini. Sulla porta un QR code con un originale avvertimento teatrale: “Attenzione! Questo codice QR trasforma i passanti in attori. Scansionate solo se pronti.” I numeri hanno sùbito detto che non era una boutade: più di 60 persone in un solo pomeriggio, tre giornate inaugurali che hanno registrato il tutto esaurito. Ma soprattutto un’eco positiva che è andata oltre i confini sanseveresi. BroadwayWorld (proprio come il previo caso del GIO Festival) la più influente testata mondiale di critica teatrale con oltre 5,5 milioni di visualizzazioni mensili, il 27 aprile 2026 gli ha dedicato una copertura esclusiva: An Abandoned Italian Newsstand Just Became the World’s Smallest Theatre. Non una segnalazione, ma un’analisi: “Non c’è foyer, non c’è balconata, non c’è graticcia. C’è a malapena una quinta. Quello che c’è è qualcosa di quasi irriconoscibile come serata a teatro, e proprio per questo è ancora più potente.” BroadwayWorld ha colto l’idea manifesto di Gravino: “Questo è un teatro di prossimità. In un’epoca di distanza digitale, stiamo rimettendo il contatto umano al centro,” incorniciandolo come “Più che un abile esercizio di teatro site-specific. È una riappropriazione.”. Il tutto, in un Mezzogiorno d’Italia spesso raccontato solo per criminalità organizzata e marginalizzazione. A quel sigillo se ne è aggiunto un altro, ancora più spiazzante per un’edicola di San Severo: il Los Angeles Journal, una delle testate più influenti della West Coast per le arti performative. Il 12 maggio 2026, titola in questo modo: San Severo’s Teatro Edicola as an Innovative Model for Los Angeles Theaters? aprendo così: “In una città del Sud Italia di cui Hollywood non ha mai sentito parlare, un regista teatrale ha appena costruito il palcoscenico più piccolo del mondo: sei posti, quindici minuti, zero distanza. Los Angeles dovrebbe prestare attenzione.” Il Los Angeles Journal non fa folklore, ma mette il chiosco di via Matteo Tondi accanto al presigioso teatro losangelino Ahmanson da 1600 posti, al Pantages di Broadway in Hollywood, ai 99-seat plan di Rogue Machine, all’ Odyssey, al Victory Theatre e all’ Hollywood Fringe. Rievoca persino l’Electrical Box Theatre di Ethan Marks, una vera e propria scatola elettrica foderata di velluto rosso in downtown Los Angeles, per dire che Gravino ha portato all’estremo la domanda che Los Angeles si fa da decenni: Quanto piccolo può diventare un palco prima di smettere di essere un palco? E riconosce il modello urbano sanseverese: costo quasi zero, due settimane di lavoro e una sestina di sedie, a fronte di una immediata copertura mediatica provinciale, regionale e nazionale, riconoscimento dell’ Amministrazione Comunale sanseverese, e un format esportabile (quasi) ovunque. Dopodiché, il terzo tassello americano è arrivato dall’ Hollywood Beat Magazine il 20 aprile 2026: Six seats. Fifteen minutes. One actor. No stage. Il magazine racconta il chiosco di Via Tondi rimasto dismesso per quasi sei anni, il presidio culturale contemporaneo da sei posti, inserendo Francesco Gravino nella genealogia alta: Richard Schechner e l’environmental theatre, Jerzy Grotowski e il teatro povero, Nicolas Bourriaud e l’estetica relazionale. Ma chiude con concretezza: non è una tesi, è fixing a street corner, ovvero aggiustare un angolo di strada urbana chiedendosi non quanto grande può diventare un teatro, ma quanto piccolo deve tornare per recuperare il suo potere originario. E infine, il celebre londinese The Psychologist, la rivista della British Psychological Society (BPS), la più antica società di psicologia al mondo, ha trasformato il Teatro-Edicola in caso di studio scientifico: il 30 luglio 2026 pubblica The world’s smallest theatre — and Psychologists’ next act, partendo dallo stesso dettaglio, la mattina del 27 marzo in cui la saracinesca metallica del chiosco esagonale di Via Tondi si riapre dopo sei anni, sei persone dentro, un attore a meno di un metro che inizia Chekhov. Descrive la formula: sei spettatori, 15 minuti, 11 attori su 10 ore, da Goldoni a Euripide, dentro un chiosco dove la quarta parete non si rompe perché architettonicamente non è mai esistita. Ma la BPS fa un passo oltre: cita gli studi del 2025 di Damien Gabriel su IBRO Neuroscience Reports, la performance live genera attivazione emotiva e fisiologica misurabilmente più forte del video e introduce la prossemica di Edward Hall: sotto il metro è spazio intimo, riservato a medici, amici stretti, amanti. In quello spazio da un metro quadrato, il respiro dell’attore è udibile, le microespressioni leggibili, il confine sé-altro diventa permeabile. Il Teatro-Edicola “non rende il teatro migliore, lo rende inevitabile”. Ed è qui che si capisce perché Stanford lo studia come caso di studio accademico di innovazione sociale, non come caso di originalità artistica. In Italia, nel frattempo, il circuito mediatico nazionale aveva già intercettato il fenomeno: RaiNews — TG2 Storie lo porta su RaiDue alla mezzanotte del 19 aprile. RTL 102.5 dedica spazio al format ideato da Gravino e sviluppato da Foyer’97 nel cuore di San Severo in Via Tondi, definendolo micro-palcoscenico permanente capace di portare teatro nello spazio pubblico. ANSA.it, Gazzetta del Mezzogiorno, La Repubblica, TG2000, Radio Capital, RSI svizzera, ANSA Brasile e tanti altri seguono. E per diritto di cronaca: Fiorello lo ha elogiato in La Pennicanzacome caso artistico ispirato al suo Edicola Fiore, nonché Biagio Antonacci, nel suo tour nell’anfiteatro augusteo di Lucera, ha fatto tappa “conoscitiva” nel Teatro-Edicola cantando la celebre e nostalgica Iris davanti ad un pubblico sicuramente maggiore dei “sei posti”. La Compagnia Teatrale Foyer ’97 di Francesco Gravino non è nata ieri: ha alle spalle il Teatro-Cantina del 2016, il teatro sottoterra, e nel 2011 una performance sulla torre campanaria di una chiesa del centro di San Severo a 45 metri d’altezza. Il Teatro Edicola completa, nelle parole di Gravino, “l’intera estensione verticale del teatro: sottoterra, piano strada, tetto”. E si prepara al trentennale del 2027 puntando ad acquistare l’edicola per renderla permanente esportando il “Modello San Severo” a Roma, Lucca, nei festival di Santarcangelo e Todi. Come per il GIO Festival, qualcuno potrebbe osare di affermare che si tratta solo di un exploit ma, quando BroadwayWorld ti mette accanto alla Los Angeles Opera House, il Los Angeles Journal ti propone come modello per Hollywood, Hollywood Beat Magazine ti legge con Grotowski e la British Psychological Society ti usa per spiegare i neuroni specchio, non è più un exploit ma un eccellente posizionamento artistico ed accademico. A chi ancora sussurra che Foggia e la Capitanata siano provincia, la risposta ora è scritta su due fronti opposti e complementari: il 5 giugno a Foggia un’opera di 138 anni ha ritrovato la scena al Giordano finendo su BroadwayWorld; il 27 marzo a San Severo un’edicola di 4 metri quadrati ha inventato una scena che non esisteva, finendo a Stanford, a Los Angeles, a Hollywood e a Londra. La periferia, quando ha un’idea precisa, diventa centro. Anche con sei sedie. Luciano Magaldi Sardella