Salahdine Parnasse compare le striking français et américain. 🇫🇷⚡️🇺🇸 🗣 "En striking, les Américains ne sont pas aussi développés que nous. On a une palette vraiment complète comparée à la leur. À la base, ce sont des lutteurs, donc ils sont un peu brouillons. Je pense qu’on est meilleurs dans ce domaine par rapport à eux." (via RMC Sport Combat) #MMA #Striking #Sport
When Emotion Takes the Reins A remarkable study published in Proceedings of the National Academy of Sciencesexamined millions of books covering almost 170 years and tracked language associated with rationality—facts, conclusions, analysis and determination—against language associated with sentiment—feeling, belief and emotion. The pattern was striking. From roughly 1850 to 1980, rationality-related language steadily increased while sentiment-related language declined. Then the trend reversed. By around 2007, sentiment-related language had overtaken rationality-related language and continued rising (Scheffer et al., 2021). This does not prove that people have become less rational, nor does the study establish a single cause. But it raises an important question: what happens when trust in the institutions associated with knowledge and expertise begins to collapse? If people believe governments, experts, universities and media are corrupt or captured, “look at the data” can sound less like an appeal to reason and more like an appeal to authority. And when institutional trust declines, emotion becomes politically powerful. Anger supplies an enemy. Fear supplies urgency. Hope supplies a future. Identity supplies belonging. Could this help explain why socialism and even communism have regained some appeal among young people despite the historical record? The study cannot establish that causal link. But it is a plausible hypothesis: when politics becomes increasingly emotional, an ideology can be judged by what it promises rather than by what it has historically produced. Benjamin Franklin captured the necessary balance: “If passion drives, let reason hold the reins.” Passion is not the enemy. It is the engine of human action. The danger comes when we surrender the steering wheel. Today, algorithms, political campaigns and media incentives are exceptionally good at exploiting emotion. Outrage spreads faster than nuance. A soundbite can provoke a reaction before we have checked whether it is true. Reference: Scheffer, M., van de Leemput, I., Weinans, E., & Bollen, J. (2021). The rise and fall of rationality in language. PNAS, 118(51), e2107848118. https://doi.org/10.1073/pnas.2107848118
🚨🔴 RED ALERT: PUTIN’S WAR ECONOMY IS UNDER STRAIN 🔴🚨 Late August / early September 2026 is producing a striking cluster of warning signals across the Russian economy. 🔴 Liquid sovereign fund: around RUB 3.998 trillion — roughly 59% below February 2022 levels. 🔴 Federal https://t.co/TOGIVhijUl #PutinsWar #RussianEconomy #EconomicCrisis #RU
"GIO FESTIVAL (FOGGIA)" CONQUERS HOLLYWOOD AND ENTERS THE RACE FOR THE “OPERA OSCARS” (BEST RECORDING OF MONTH FOR GRAMOPHONE UK) SOURCE: https://www.linkedin.com/pulse/gio-festival-foggia-conquers-hollywood-enters-race-uk-sardella-ph-d--tlaee/ SOURCE 1: https://hollywoodbeatmagazine.com/2026/09/03/giordanos-marina-journey-nominated-for-international-opera-awards/ SOURCE 2: https://www.instagram.com/p/DcWc0dfjBr4/ There comes a moment in the cultural life of a nation when tradition ceases to be mere memory and once again becomes an event. Such is what is now unfolding with Marina by Umberto Giordano: the long‑lost opera, newly reborn through the “GIO Festival” led by Dino De Palma and Gianna Fratta, and today officially nominated for the “International Opera Awards”, the so‑called “Opera Oscars” that each year celebrate the world’s finest achievements in musical theatre. The announcement — reported by the prestigious Californian magazine Hollywood Beat Magazine — marks a historic turning point: a work that remained in obscurity for more than a century now ascends to the international stage, projecting Italian creativity into the very heart of the global cultural industry. It is not merely a recognition; it is a signal. The Teatro Umberto Giordano, the entire organisational engine of the “GIO Festival”, together with all public and private institutions involved, demonstrates once again that when it chooses to honour its treasures, it still has the power to astonish the world. Marina is not simply a rediscovered opera: it is a journey that begins with the archival papers of the “Frederick R. Koch Collection” at Yale University’s “Beinecke Rare Book and Manuscript Library”, passes through the passion of musicologists such as Andreas Gies, ignites in the production of the “GIO Festival”, and — after attracting the attention of “Broadway World” with its six million monthly global readers — now reaches Hollywood, where the international press celebrates its dramatic potency, its luminous vocal writing, and its striking modernity. In an operatic landscape often dominated by the great repertory titles, the nomination of “Marina (1888)” shows that a work can still be rediscovered, reinvented, relaunched. It can speak to the present — and it can do so with the voice of Foggia and of the people of Foggia across the world. For those who cherish culture, music, and history, this is a moment to remember. For those who believe in the value of research and dissemination, it is a victory to celebrate. For those who live opera as a mission, it is an epoch‑making triumph. And now, with its nomination for the International Opera Awards — the global “Opera Oscars” — the journey of Marina and of Umberto Giordano continues. Towards the world. Towards the future. Towards a new chapter in the great Giordanian tradition. At long last, we may say: Welcome back, Umberto!
“RADIO RAI2 MUSIC ROOM” DISCOVERS THE “TEATRO EDICOLA” BY FRANCESCO GRAVINO'S FOYER’97, SAN SEVERO, PUGLIA, ITALY SOURCE: https://www.linkedin.com/pulse/radio-rai2-music-room-discovers-teatro-edicola-san-sardella-ph-d--jp7of/ Source: https://www.facebook.com/61587132549395/videos/1643041823277707/ A further, significant signal of the cultural vitality emerging from Italy’s local territories: Radio Rai2 Music Room has dedicated a feature to Teatro Edicola, the format conceived by Francesco Gravino and developed by Foyer’97 in the very heart of San Severo, on Via Tondi. This remarkable project transforms an ordinary urban newsstand into a permanent micro‑stage, bringing theatre, storytelling, and community life into the public realm through an accessible yet strikingly innovative language. The attention of a national broadcaster underscores the strength of an idea that weaves together urban regeneration, cultural experimentation, and new forms of proximity. A model that is replicable, sustainable, and deeply rooted in the Apulian landscape—now beginning to speak to an ever‑growing audience. Warm congratulations to Francesco Gravino and the entire Foyer’97 team: when creativity meets the city, projects arise that truly deserve to be told.
“RADIO IULM” UNVEILS THE “TEATRO EDICOLA” BY FRANCESCO GRAVINO’S FOYER’97 IN SAN SEVERO, PUGLIA, ITALY SOURCE: https://www.linkedin.com/pulse/radio-iulm-unveils-teatro-edicola-francesco-gravinos-sardella-ph-d--4xqaf/ Source: https://www.facebook.com/61587132549395/videos/1264847635767965/ A further and most distinguished signal of the cultural vitality emerging from Italy’s local territories: RADIO IULM has devoted thoughtful attention to Teatro Edicola, the visionary format conceived by Francesco Gravino and developed by Foyer’97 in the very heart of San Severo, along Via Tondi. This remarkable project transforms an ordinary urban news‑stand into a permanent micro‑stage, capable of bringing theatre, storytelling, and civic community into the public realm through an accessible yet strikingly innovative artistic language. The interest of a national broadcaster confirms the strength of an idea that elegantly intertwines urban regeneration, cultural experimentation, and new forms of social proximity. A replicable and sustainable model, deeply rooted in the Apulian landscape, now beginning to speak to an ever‑widening audience. Warm congratulations to Francesco Gravino and the entire Foyer’97 team: when creativity encounters the city, projects arise that truly deserve to be narrated.
“APULIA DIGITAL RADIO” DISCOVERS THE “TEATRO EDICOLA” BY FOYER’97 AND FRANCESCO GRAVINO, SAN SEVERO, PUGLIA, ITALY SOURCE: https://www.linkedin.com/pulse/apulia-digital-radio-discovers-teatro-edicola-foyer97-sardella-ph-d--8d5gf/ Source: https://www.facebook.com/61587132549395/videos/1307244217933653/ A distinguished new signal for culture arising from local communities: Apulia Digital Radio has devoted generous attention to Teatro Edicola, the format conceived by Francesco Gravino and developed by Foyer’97 in the very heart of San Severo, on Via Tondi. This singular project transforms an ordinary urban news‑stand into a permanent micro‑stage, capable of bringing theatre, storytelling, and a renewed sense of community into the public realm through an accessible yet strikingly innovative artistic language. The interest shown by a regional broadcaster further confirms the strength of an idea that gracefully intertwines urban regeneration, cultural experimentation, and new forms of social proximity. It is a model that is both replicable and sustainable, deeply rooted in the Puglian territory, and now beginning to speak to an ever‑wider audience. Warmest congratulations to Francesco Gravino and the entire Foyer’97 team: when creativity encounters the city, projects emerge that truly deserve to be told in Puglia and all around the globe.
“RTL 102.5” DISCOVERS THE “TEATRO EDICOLA” BY FRANCESCO GRAVINO’S FOYER’97, SAN SEVERO, PUGLIA SOURCE: https://medium.com/@ingnucllms/rtl-102-5-discovers-the-teatro-edicola-by-francesco-gravinos-foyer-97-san-severo-puglia-719a01717b11 Source: https://www.facebook.com/61587132549395/videos/3877119022423420/ A further and significant signal of the cultural vitality emerging from Italy’s local territories: RTL 102.5 has dedicated a feature to Teatro Edicola, the format conceived by Francesco Gravino and developed by Foyer’97 in the very heart of San Severo, on Via Tondi. Learn about Medium’s values This imaginative project transforms an ordinary urban newsstand into a permanent micro‑stage, capable of bringing theatre, storytelling, and community life into the public realm through an accessible yet strikingly innovative language. The attention of a national broadcaster confirms the strength of an idea that intertwines urban regeneration, cultural experimentation, and new forms of proximity. A model that is replicable, sustainable, and deeply rooted in the Apulian landscape — now beginning to speak to an ever‑wider audience. Warm congratulations to Francesco Gravino and the Foyer’97 team: when creativity encounters the city, projects arise that truly deserve to be told.
"RADIO CAPITAL" DISCOVERS "TEATRO EDICOLA" BY FRANCESCO GRAVINO'S FOYER'97, SANSEVERO, PUGLIA, ITALY SOURCE: https://www.linkedin.com/pulse/radio-capital-discovers-teatro-edicola-francesco-sardella-ph-d--kcrrf/ Source: https://www.facebook.com/61587132549395/videos/964496436225827/ A distinguished new signal for culture emerging from local communities: Radio Capital has accorded prominent attention to Teatro Edicola, the visionary format conceived by Francesco Gravino and developed by Foyer’97 in the very heart of San Severo, on Via Tondi. This remarkable initiative transforms an ordinary urban news‑stand into a permanent micro‑stage, capable of bringing theatre, storytelling, and civic life into the public realm through an accessible yet strikingly innovative artistic language. The interest of a national broadcaster further attests to the strength of an idea that elegantly intertwines urban regeneration, cultural experimentation, and new forms of social proximity. It is a model both replicable and sustainable, deeply rooted in the Apulian territory, and now beginning to speak to an ever‑wider audience. Warmest congratulations to Francesco Gravino and the entire Foyer’97 team: when creativity encounters the city, projects arise that truly deserve to be celebrated.
PORTAL-ANALITIKA.ME publishes the “Edicola Teatro” of Foyer ’97, Founded by Francesco Gravino of San Severo, Puglia, Italy SOURCE: https://www.linkedin.com/pulse/portal-analitikame-publishes-edicola-teatro-foyer-97-sardella-ph-d--6i2of/ The format devised by the Pulgian theatre company Foyer ’97 — already described as “the smallest theatre in the world” — has now reached the international stage through its feature on the global platform Europe Says. A story born from an abandoned news kiosk in the province of Foggia is now crossing every conceivable boundary. It is a genuine pleasure and an honour to share the brilliant idea of the artistic director of Teatro ’97, the distinguished actor and director from San Severo, Francesco Gravino, and his remarkable theatre company, as they gain international visibility with this marvellous and innovative creation: a true “Teatro Edicola”. Source: https://www.portalanalitika.me/clanak/na-drugoj-obali-jadrana-otvoreno-najmanje-pozoriste-na-planeti Only a few square metres, six chairs, and the passion of a theatre company are enough to make history. The Edicola Teatro, conceived by Francesco Gravino, Artistic Director of the historic San Severo-based company Foyer ’97, is receiving significant media recognition, “taking to the stage” of leading national and international outlets thanks to his talented intuition, inspired by Edicola Fiore, the celebrated format created by the Italian entertainment icon Rosario Fiorello. An abandoned kiosk, a record‑breaking theatre It has already been dubbed “the smallest theatre in the world” and, with merely six seats, may well aspire to a Guinness World Record. Since its launch a few days ago, the original venue has drawn hundreds of curious visitors who queued to attend the performances—scheduled every fifteen minutes—inside a former abandoned news kiosk in San Severo, in the province of Foggia. The initiative stems from the distinctive vision of the long‑established San Severo company Foyer ’97, led by Gravino, who sought to celebrate World Theatre Day with an unprecedented experiment that has already been widely reported by national‑level media. The idea, seemingly simple in its striking essentiality, in fact conceals a profound reflection on the nature of theatrical practice. “The idea of the smallest theatre in the world was born from a creative provocation: to return theatre to its most direct essence. Together with the company, we asked ourselves how far the space could be reduced without losing intensity, and the kiosk became the perfect symbol: a place that suddenly transforms into a stage. From a space of news to a space of emotions,” Gravino explained. Foyer ’97 has been active since 1997 and is based in San Severo. Next year it will celebrate its thirtieth anniversary—an occasion approaching at the moment of greatest visibility in its history. The format: sixteen giants of literature in fifteen minutes With only six seats available at a time and performances following one another every fifteen minutes, the audience is quite literally immersed in the work. From 11:00 to 20:45, eleven actors alternate in bringing to life the giants of literature: from Goldoni to Chekhov, via the wit of Gaber and the dramatic force of Euripides. Inside the small theatre carved out of the disused kiosk owned by Mr Pino Grau, there is no traditional separation between stage and auditorium; instead, an intimate encounter takes place in which spectators and actors become, in effect, a single entity. Admission is free, reflecting Gravino’s aim: to restore theatre’s accessibility, returning it to a place that welcomes everyone. At the kiosk’s threshold, a QR code and a cryptic notice encapsulate the spirit of the project: “Warning. This QR code turns passers‑by into actors. Scan only if you are ready.” From the crisis of print media to cultural rebirth The project also carries with it a reflection on urban transformation and the decline of traditional commerce. The kiosk had been unused for around six years and has now been transformed into an intimate and surprising performance space in which less than a metre separates actors from spectators. At a time when kiosks in town and city centres are increasingly converted into drink stands, flower stalls, or souvenir shops, the Edicola Teatro comes closer to the original spirit of knowledge with which such kiosks were conceived—as places for the sale of newspapers and books. It is a symbolic short circuit of remarkable eloquence: a bastion of written culture becoming a bastion of live culture. The idea draws inspiration from Edicola Fiore, Fiorello’s cult programme, which first brought performance into a Roman kiosk. Gravino and his collaborators have also embraced the invitation of Willem Dafoe, the renowned actor and current director of the Theatre Section of the Venice Biennale, regarding the importance of theatre as a force for cohesion among peoples. The Grokipedia entry: a leap to global scale The theatre company Foyer ’97, led by Francesco Gravino, has now been granted its own dedicated encyclopaedic entry, “Teatro Edicola”. This Grokipedia listing represents more than a mere media acknowledgement. Launched in October 2025, Grokipedia is an AI-generated encyclopaedia managed by xAI, the artificial-intelligence research company founded by Musk. The fact that Grok’s knowledge engine has deemed the micro‑theatre worthy of an autonomous encyclopaedic entry—on a par with established cultural institutions—confirms the international resonance of an idea born in a side street of a southern Italian town. The objective is now to export the format beyond the borders of Apulia; with Grokipedia’s recognition, that prospect appears more concrete than ever. The praise of local institutions “We extend our heartfelt congratulations to Franco Gravino and to all the actors and artists for this wonderful initiative,” declared Mayor Lidya Colangelo and Deputy Mayor for Culture Anna Paola Giuliani. The municipal administration has announced its intention to welcome the company to Palazzo Celestini to celebrate the achievement together. Perhaps the most striking aspect has been the audience’s reaction. Many emerged with glistening eyes or with a suspended smile, as though they had experienced something secret. This is the theatre that Francesco Gravino and Foyer ’97 have chosen to pursue: not the theatre that waits for its audience on velvet seats, but the theatre that goes out to find them in the street, surprises them, and transforms them.
WP TURYSTYKA.PL publishes the “Edicola Teatro” of Foyer ’97, Founded by Francesco Gravino of San Severo, Puglia, Italy SOURCE: https://www.linkedin.com/pulse/wp-turystykapl-publishes-edicola-teatro-foyer-97-san-sardella-ph-d--hs5pf/ The format devised by the Pulgian theatre company Foyer ’97 — already described as “the smallest theatre in the world” — has now reached the international stage through its feature on the global platform Europe Says. A story born from an abandoned news kiosk in the province of Foggia is now crossing every conceivable boundary. It is a genuine pleasure and an honour to share the brilliant idea of the artistic director of Teatro ’97, the distinguished actor and director from San Severo, Francesco Gravino, and his remarkable theatre company, as they gain international visibility with this marvellous and innovative creation: a true “Teatro Edicola”. Source: https://turystyka.wp.pl/najmniejszy-teatr-swiata-ustawiaja-sie-kolejki-7273686077245632a Only a few square metres, six chairs, and the passion of a theatre company are enough to make history. The Edicola Teatro, conceived by Francesco Gravino, Artistic Director of the historic San Severo-based company Foyer ’97, is receiving significant media recognition, “taking to the stage” of leading national and international outlets thanks to his talented intuition, inspired by Edicola Fiore, the celebrated format created by the Italian entertainment icon Rosario Fiorello. An abandoned kiosk, a record‑breaking theatre It has already been dubbed “the smallest theatre in the world” and, with merely six seats, may well aspire to a Guinness World Record. Since its launch a few days ago, the original venue has drawn hundreds of curious visitors who queued to attend the performances—scheduled every fifteen minutes—inside a former abandoned news kiosk in San Severo, in the province of Foggia. The initiative stems from the distinctive vision of the long‑established San Severo company Foyer ’97, led by Gravino, who sought to celebrate World Theatre Day with an unprecedented experiment that has already been widely reported by national‑level media. The idea, seemingly simple in its striking essentiality, in fact conceals a profound reflection on the nature of theatrical practice. “The idea of the smallest theatre in the world was born from a creative provocation: to return theatre to its most direct essence. Together with the company, we asked ourselves how far the space could be reduced without losing intensity, and the kiosk became the perfect symbol: a place that suddenly transforms into a stage. From a space of news to a space of emotions,” Gravino explained. Foyer ’97 has been active since 1997 and is based in San Severo. Next year it will celebrate its thirtieth anniversary—an occasion approaching at the moment of greatest visibility in its history. The format: sixteen giants of literature in fifteen minutes With only six seats available at a time and performances following one another every fifteen minutes, the audience is quite literally immersed in the work. From 11:00 to 20:45, eleven actors alternate in bringing to life the giants of literature: from Goldoni to Chekhov, via the wit of Gaber and the dramatic force of Euripides. Inside the small theatre carved out of the disused kiosk owned by Mr Pino Grau, there is no traditional separation between stage and auditorium; instead, an intimate encounter takes place in which spectators and actors become, in effect, a single entity. Admission is free, reflecting Gravino’s aim: to restore theatre’s accessibility, returning it to a place that welcomes everyone. At the kiosk’s threshold, a QR code and a cryptic notice encapsulate the spirit of the project: “Warning. This QR code turns passers‑by into actors. Scan only if you are ready.” From the crisis of print media to cultural rebirth The project also carries with it a reflection on urban transformation and the decline of traditional commerce. The kiosk had been unused for around six years and has now been transformed into an intimate and surprising performance space in which less than a metre separates actors from spectators. At a time when kiosks in town and city centres are increasingly converted into drink stands, flower stalls, or souvenir shops, the Edicola Teatro comes closer to the original spirit of knowledge with which such kiosks were conceived—as places for the sale of newspapers and books. It is a symbolic short circuit of remarkable eloquence: a bastion of written culture becoming a bastion of live culture. The idea draws inspiration from Edicola Fiore, Fiorello’s cult programme, which first brought performance into a Roman kiosk. Gravino and his collaborators have also embraced the invitation of Willem Dafoe, the renowned actor and current director of the Theatre Section of the Venice Biennale, regarding the importance of theatre as a force for cohesion among peoples. The Grokipedia entry: a leap to global scale The theatre company Foyer ’97, led by Francesco Gravino, has now been granted its own dedicated encyclopaedic entry, “Teatro Edicola”. This Grokipedia listing represents more than a mere media acknowledgement. Launched in October 2025, Grokipedia is an AI-generated encyclopaedia managed by xAI, the artificial-intelligence research company founded by Musk. The fact that Grok’s knowledge engine has deemed the micro‑theatre worthy of an autonomous encyclopaedic entry—on a par with established cultural institutions—confirms the international resonance of an idea born in a side street of a southern Italian town. The objective is now to export the format beyond the borders of Apulia; with Grokipedia’s recognition, that prospect appears more concrete than ever. The praise of local institutions “We extend our heartfelt congratulations to Franco Gravino and to all the actors and artists for this wonderful initiative,” declared Mayor Lidya Colangelo and Deputy Mayor for Culture Anna Paola Giuliani. The municipal administration has announced its intention to welcome the company to Palazzo Celestini to celebrate the achievement together. Perhaps the most striking aspect has been the audience’s reaction. Many emerged with glistening eyes or with a suspended smile, as though they had experienced something secret. This is the theatre that Francesco Gravino and Foyer ’97 have chosen to pursue: not the theatre that waits for its audience on velvet seats, but the theatre that goes out to find them in the street, surprises them, and transforms them.
E-TEATR.PL publishes the “Edicola Teatro” of Foyer ’97, founded by Francesco Gravino of San Severo, Puglia, Italy SOURCE: https://www.linkedin.com/pulse/e-teatrpl-publishes-edicola-teatro-foyer-97-founded-sardella-ph-d--bhrnf/ The format devised by the Apulian theatre company Foyer ’97 — already described as “the smallest theatre in the world” — has now reached the international stage through its feature on the global platform Europe Says. A story born from an abandoned news kiosk in the province of Foggia is now crossing every conceivable boundary. It is a genuine pleasure and an honour to share the brilliant idea of the artistic director of Teatro ’97, the distinguished actor and director from San Severo, Francesco Gravino, and his remarkable theatre company, as they gain international visibility with this marvellous and innovative creation: a true “Teatro Edicola”. Source: https://e-teatr.pl/wlochy-najmniejszy-teatr-swiata-w-dawnym-kiosku-z-gazetami-6789 Only a few square metres, six chairs, and the passion of a theatre company are enough to make history. The Edicola Teatro, conceived by Francesco Gravino, Artistic Director of the historic San Severo-based company Foyer ’97, is receiving significant media recognition, “taking to the stage” of leading national and international outlets thanks to his talented intuition, inspired by Edicola Fiore, the celebrated format created by the Italian entertainment icon Rosario Fiorello. An abandoned kiosk, a record‑breaking theatre It has already been dubbed “the smallest theatre in the world” and, with merely six seats, may well aspire to a Guinness World Record. Since its launch a few days ago, the original venue has drawn hundreds of curious visitors who queued to attend the performances—scheduled every fifteen minutes—inside a former abandoned news kiosk in San Severo, in the province of Foggia. The initiative stems from the distinctive vision of the long‑established San Severo company Foyer ’97, led by Gravino, who sought to celebrate World Theatre Day with an unprecedented experiment that has already been widely reported by national‑level media. The idea, seemingly simple in its striking essentiality, in fact conceals a profound reflection on the nature of theatrical practice. “The idea of the smallest theatre in the world was born from a creative provocation: to return theatre to its most direct essence. Together with the company, we asked ourselves how far the space could be reduced without losing intensity, and the kiosk became the perfect symbol: a place that suddenly transforms into a stage. From a space of news to a space of emotions,” Gravino explained. Foyer ’97 has been active since 1997 and is based in San Severo. Next year it will celebrate its thirtieth anniversary—an occasion approaching at the moment of greatest visibility in its history. The format: sixteen giants of literature in fifteen minutes With only six seats available at a time and performances following one another every fifteen minutes, the audience is quite literally immersed in the work. From 11:00 to 20:45, eleven actors alternate in bringing to life the giants of literature: from Goldoni to Chekhov, via the wit of Gaber and the dramatic force of Euripides. Inside the small theatre carved out of the disused kiosk owned by Mr Pino Grau, there is no traditional separation between stage and auditorium; instead, an intimate encounter takes place in which spectators and actors become, in effect, a single entity. Admission is free, reflecting Gravino’s aim: to restore theatre’s accessibility, returning it to a place that welcomes everyone. At the kiosk’s threshold, a QR code and a cryptic notice encapsulate the spirit of the project: “Warning. This QR code turns passers‑by into actors. Scan only if you are ready.” From the crisis of print media to cultural rebirth The project also carries with it a reflection on urban transformation and the decline of traditional commerce. The kiosk had been unused for around six years and has now been transformed into an intimate and surprising performance space in which less than a metre separates actors from spectators. At a time when kiosks in town and city centres are increasingly converted into drink stands, flower stalls, or souvenir shops, the Edicola Teatro comes closer to the original spirit of knowledge with which such kiosks were conceived—as places for the sale of newspapers and books. It is a symbolic short circuit of remarkable eloquence: a bastion of written culture becoming a bastion of live culture. The idea draws inspiration from Edicola Fiore, Fiorello’s cult programme, which first brought performance into a Roman kiosk. Gravino and his collaborators have also embraced the invitation of Willem Dafoe, the renowned actor and current director of the Theatre Section of the Venice Biennale, regarding the importance of theatre as a force for cohesion among peoples. The Grokipedia entry: a leap to global scale The theatre company Foyer ’97, led by Francesco Gravino, has now been granted its own dedicated encyclopaedic entry, “Teatro Edicola”. This Grokipedia listing represents more than a mere media acknowledgement. Launched in October 2025, Grokipedia is an AI-generated encyclopaedia managed by xAI, the artificial-intelligence research company founded by Musk. The fact that Grok’s knowledge engine has deemed the micro‑theatre worthy of an autonomous encyclopaedic entry—on a par with established cultural institutions—confirms the international resonance of an idea born in a side street of a southern Italian town. The objective is now to export the format beyond the borders of Apulia; with Grokipedia’s recognition, that prospect appears more concrete than ever. The praise of local institutions “We extend our heartfelt congratulations to Franco Gravino and to all the actors and artists for this wonderful initiative,” declared Mayor Lidya Colangelo and Deputy Mayor for Culture Anna Paola Giuliani. The municipal administration has announced its intention to welcome the company to Palazzo Celestini to celebrate the achievement together. Perhaps the most striking aspect has been the audience’s reaction. Many emerged with glistening eyes or with a suspended smile, as though they had experienced something secret. This is the theatre that Francesco Gravino and Foyer ’97 have chosen to pursue: not the theatre that waits for its audience on velvet seats, but the theatre that goes out to find them in the street, surprises them, and transforms them.
THE “LOS ANGELES JOURNAL” UNVEILS THE “TEATRO‑EDICOLA” OF FRANCESCO GRAVINO AND FOYER ’97 TEATRO IN SANSEVERO, PUGLIA, ITALY SOURCE: https://medium.com/@ingnucllms/the-los-angeles-journal-unveils-the-teatro-edicola-of-francesco-gravino-and-foyer-97-teatro-in-38b675bc6f00 A diminutive miracle born in San Severo captures the discerning gaze of Los Angeles’ cultural elite. The Los Angeles Journal — one of the West Coast’s most authoritative voices in the realm of television and performing arts — has devoted an extensive feature to the Teatro Edicola, the six‑seat, fifteen‑minute micro‑stage whose sheer intensity has quietly, yet irresistibly, travelled from Via Matteo Tondi to the international spotlight. The article traces the remarkable metamorphosis of a former news kiosk into an innovative model of urban theatre, a concept so striking that it has piqued the curiosity of Los Angeles itself, homeland of titans such as the Ahmanson and the Pantages. The American publication embraces the definition offered by the artistic director — San Severo‑born actor and director Francesco Gravino — who describes the Teatro Edicola as a radical embodiment of “proximity theatre”: a cultural gesture proving that bold ideas, rather than lavish budgets, are sufficient to regenerate spaces and rekindle communities. Through this project, Francesco Gravino and Foyer ’97 propel the creative spirit of Foggia onto the international stage, demonstrating that even the humblest and most time‑worn of kiosks can become the cradle of a new vision for contemporary performance. A source of pride for San Severo, for the Province of Foggia, for the whole of Apulia — and for all those who still believe that theatre possesses the power to astonish, to move, and to transform the very places in which we live.
Elon Musk cites the “Edicola Teatro” of Foyer '97 by Francesco Gravino of San Severo in his own encyclopaedia, Grokipedia SOURCE: https://www.linkedin.com/pulse/elon-musk-cites-edicola-teatro-foyer-97-francesco-san-sardella-ph-d--jvudf/ The format devised by the San Severo-based theatre company Foyer ’97 — already described as “the smallest theatre in the world” — is now capturing the international spotlight in the field of artificial intelligence. A story that began with an abandoned news kiosk in the province of Foggia is now crossing every border. It is both a pleasure and an honour to help disseminate the brilliant idea of the artistic director of Teatro ’97, the distinguished actor and director from San Severo, Francesco Gravino, together with his remarkable theatre company, as they gain international visibility for this marvellous and innovative creation: a true “Teatro Edicola”. Source: https://grokipedia.com/page/Teatro_Edicola It takes only a few square metres, six chairs, and the passion of a theatre company to make history. The “Edicola Teatro” created by Francesco Gravino, artistic director of the historic San Severo‑based company Foyer ’97, has achieved a distinction that few Italian cultural projects can claim: its own dedicated entry within Grokipedia, the AI‑driven digital encyclopaedia launched by Elon Musk in November 2025 through his company xAI. Grokipedia has been presented as a direct alternative to Wikipedia, powered by the Grok artificial intelligence system, with content generated and updated automatically by the language model developed by xAI. The platform currently hosts more than 885,000 articles in its 0.1 version, and Musk has already announced future updates, hinting at rapid expansion thanks to the system’s automatic generation capabilities. The fact that the “Edicola Teatro” of San Severo, in the province of Foggia, now appears among the indexed entries is, in every respect, a recognition of the cultural and media impact that the project conceived by Francesco Gravino and his theatre company Foyer ’97 has managed to generate in such a short time. An abandoned kiosk, a record‑breaking theatre It has already been dubbed “the smallest theatre in the world” and, with only six seats, may well be aiming for a Guinness World Record. Since its launch just a few days ago, the unusual venue has attracted hundreds of curious visitors who have queued to attend the performances, scheduled every fifteen minutes, inside a former abandoned news kiosk in San Severo, in the province of Foggia. The initiative stems from the distinctive vision of the long‑established San Severo company Foyer ’97, led by Francesco Gravino, who wished to celebrate World Theatre Day with an unprecedented experiment that has already been picked up by numerous media outlets, including national ones. The idea, seemingly simple in its striking essentiality, in fact conceals a profound reflection on the nature of theatre‑making. “The idea of the smallest theatre in the world was born from a creative provocation: to bring theatre back to its most direct essence. Together with the rest of the company, we asked ourselves how far the space could be reduced without losing intensity, and the kiosk became the perfect symbol: a place that suddenly transforms into a stage. From a space of news to a space of emotion,” Gravino explained. The theatre company Foyer ’97 has been active since 1997 and is based in San Severo. Next year it will celebrate its thirtieth anniversary—an occasion approaching at the moment of greatest visibility in its history. The format: sixteen giants of literature in fifteen minutes With only six seats available at a time and performances running every fifteen minutes, the audience is quite literally immersed in the work. From 11:00 to 20:45, eleven actors take turns bringing to life the giants of literature: from Goldoni to Chekhov, via the wit of Gaber and the power of Euripides. Inside the tiny theatre carved out of the disused kiosk owned by Mr Pino Grau, there is no traditional separation between stage and audience; instead, an intimate encounter takes place in which spectators and actors become one. Admission is free, reflecting Gravino’s aim: to champion accessibility in theatre, a place that must once again welcome everyone. On the kiosk’s threshold, a QR code and a cryptic notice encapsulate the spirit of the project: “Warning. This QR Code turns passers‑by into actors. Scan only if you are ready.” From the crisis of print media to cultural rebirth The project also carries a reflection on urban transformation and the decline of traditional retail. The kiosk had been abandoned for around six years and has now been transformed into an intimate and surprising performance space in which less than a metre separates actors and audience. At a time when kiosks in town centres are increasingly converted into drink stands, flower stalls, or souvenir shops, the Edicola Teatro comes closer to the original spirit of knowledge with which they were conceived—as places for the sale of newspapers and books. A symbolic short circuit of remarkable eloquence: a bastion of written culture becoming a bastion of live culture. The idea draws inspiration from Edicola Fiore, the cult programme by Fiorello, who was the first to bring performance into a Roman news kiosk. Gravino and his team have also embraced the call of Willem Dafoe, the renowned actor and current director of the Theatre section of the Venice Biennale, on the importance of theatre as a force for cohesion among peoples. The Grokipedia entry: a leap to global scale The project’s inclusion in Grokipedia represents more than a simple media acknowledgement. Grokipedia was launched in October 2025 as an AI‑generated encyclopaedia managed by xAI, the artificial intelligence research company founded by Musk himself. The fact that Grok’s knowledge engine deemed the “Edicola Teatro” worthy of an autonomous encyclopaedic entry—on a par with established cultural institutions—confirms the international resonance of an idea born in a side street of a southern Italian town. The aim is now to export the format beyond the borders of Apulia: with Grokipedia’s recognition, that prospect appears more tangible than ever. Praise from local institutions “We extend our warmest congratulations to Franco Gravino and to all the actors and artists for this wonderful initiative,” declared Mayor Lidya Colangelo and Deputy Mayor for Culture Anna Paola Giuliani. The municipal administration has announced its intention to welcome the company to Palazzo Celestini to celebrate the achievement together. The audience’s reaction has perhaps been the most beautiful aspect. Many emerged with glistening eyes or a suspended smile, as though they had experienced something secret. This is the kind of theatre that Francesco Gravino and Foyer ’97 have chosen to pursue: not the theatre that waits for its audience on velvet seats, but the theatre that goes out to find them in the street, surprises them, transforms them. And now, even an encyclopaedia powered by artificial intelligence has, at last, taken note.
Elon Musk cites the “Edicola Teatro” of Foyer ’97 by Francesco Gravino of San Severo in his own encyclopaedia, Grokipedia SOURCE: https://www.lagazzettadisansevero.it/elon-musk-cita-ledicola-teatro-di-foyer97-francesco-gravino-di-san-severo-nella-sua-enciclopedia-grokipedia/ The format devised by the San Severo-based theatre company Foyer ’97 — already described as “the smallest theatre in the world” — is now capturing the international spotlight in the field of artificial intelligence. A story that began with an abandoned news kiosk in the province of Foggia is now crossing every border. It is both a pleasure and an honour to help disseminate the brilliant idea of the artistic director of Teatro ’97, the distinguished actor and director from San Severo, Francesco Gravino, together with his remarkable theatre company, as they gain international visibility for this marvellous and innovative creation: a true “Teatro Edicola”. Source: https://grokipedia.com/page/Teatro_Edicola It takes only a few square metres, six chairs, and the passion of a theatre company to make history. The “Edicola Teatro” created by Francesco Gravino, artistic director of the historic San Severo‑based company Foyer ’97, has achieved a distinction that few Italian cultural projects can claim: its own dedicated entry within Grokipedia, the AI‑driven digital encyclopaedia launched by Elon Musk in November 2025 through his company xAI. Grokipedia has been presented as a direct alternative to Wikipedia, powered by the Grok artificial intelligence system, with content generated and updated automatically by the language model developed by xAI. The platform currently hosts more than 885,000 articles in its 0.1 version, and Musk has already announced future updates, hinting at rapid expansion thanks to the system’s automatic generation capabilities. The fact that the “Edicola Teatro” of San Severo, in the province of Foggia, now appears among the indexed entries is, in every respect, a recognition of the cultural and media impact that the project conceived by Francesco Gravino and his theatre company Foyer ’97 has managed to generate in such a short time. An abandoned kiosk, a record‑breaking theatre It has already been dubbed “the smallest theatre in the world” and, with only six seats, may well be aiming for a Guinness World Record. Since its launch just a few days ago, the unusual venue has attracted hundreds of curious visitors who have queued to attend the performances, scheduled every fifteen minutes, inside a former abandoned news kiosk in San Severo, in the province of Foggia. The initiative stems from the distinctive vision of the long‑established San Severo company Foyer ’97, led by Francesco Gravino, who wished to celebrate World Theatre Day with an unprecedented experiment that has already been picked up by numerous media outlets, including national ones. The idea, seemingly simple in its striking essentiality, in fact conceals a profound reflection on the nature of theatre‑making. “The idea of the smallest theatre in the world was born from a creative provocation: to bring theatre back to its most direct essence. Together with the rest of the company, we asked ourselves how far the space could be reduced without losing intensity, and the kiosk became the perfect symbol: a place that suddenly transforms into a stage. From a space of news to a space of emotion,” Gravino explained. Become a Medium member The theatre company Foyer ’97 has been active since 1997 and is based in San Severo. Next year it will celebrate its thirtieth anniversary — an occasion approaching at the moment of greatest visibility in its history. The format: sixteen giants of literature in fifteen minutes With only six seats available at a time and performances running every fifteen minutes, the audience is quite literally immersed in the work. From 11:00 to 20:45, eleven actors take turns bringing to life the giants of literature: from Goldoni to Chekhov, via the wit of Gaber and the power of Euripides. Inside the tiny theatre carved out of the disused kiosk owned by Mr Pino Grau, there is no traditional separation between stage and audience; instead, an intimate encounter takes place in which spectators and actors become one. Admission is free, reflecting Gravino’s aim: to champion accessibility in theatre, a place that must once again welcome everyone. On the kiosk’s threshold, a QR code and a cryptic notice encapsulate the spirit of the project: “Warning. This QR Code turns passers‑by into actors. Scan only if you are ready.” From the crisis of print media to cultural rebirth The project also carries a reflection on urban transformation and the decline of traditional retail. The kiosk had been abandoned for around six years and has now been transformed into an intimate and surprising performance space in which less than a metre separates actors and audience. At a time when kiosks in town centres are increasingly converted into drink stands, flower stalls, or souvenir shops, the Edicola Teatro comes closer to the original spirit of knowledge with which they were conceived — as places for the sale of newspapers and books. A symbolic short circuit of remarkable eloquence: a bastion of written culture becoming a bastion of live culture. The idea draws inspiration from Edicola Fiore, the cult programme by Fiorello, who was the first to bring performance into a Roman news kiosk. Gravino and his team have also embraced the call of Willem Dafoe, the renowned actor and current director of the Theatre section of the Venice Biennale, on the importance of theatre as a force for cohesion among peoples. The Grokipedia entry: a leap to global scale The project’s inclusion in Grokipedia represents more than a simple media acknowledgement. Grokipedia was launched in October 2025 as an AI‑generated encyclopaedia managed by xAI, the artificial intelligence research company founded by Musk himself. The fact that Grok’s knowledge engine deemed the “Edicola Teatro” worthy of an autonomous encyclopaedic entry — on a par with established cultural institutions — confirms the international resonance of an idea born in a side street of a southern Italian town. The aim is now to export the format beyond the borders of Apulia: with Grokipedia’s recognition, that prospect appears more tangible than ever. Praise from local institutions “We extend our warmest congratulations to Franco Gravino and to all the actors and artists for this wonderful initiative,” declared Mayor Lidya Colangelo and Deputy Mayor for Culture Anna Paola Giuliani. The municipal administration has announced its intention to welcome the company to Palazzo Celestini to celebrate the achievement together. The audience’s reaction has perhaps been the most beautiful aspect. Many emerged with glistening eyes or a suspended smile, as though they had experienced something secret. This is the kind of theatre that Francesco Gravino and Foyer ’97 have chosen to pursue: not the theatre that waits for its audience on velvet seats, but the theatre that goes out to find them in the street, surprises them, and transforms them. And now, even an encyclopaedia powered by artificial intelligence has, at last, taken note.
How U.S. Audiences Feel About Gen AI in Entertainment Content "The starkest divides appear among young people. Positive views within the 13-17 cohort are especially striking given how severely the 18-24 cohort diverges, with 58-point gaps for AI-scripted movies and TV and https://t.co/SRq9a3pWm7 #GenAI #Entertainment #AudienceInsights #US
While #wildfires burn across the UK, @Barclays has helped arrange a $750 million bond for Harbour Energy, 1 of the largest independent oil & gas companies operating in the #NorthSea. The timing could hardly be more striking. 🚨 Send a Climate Warning ⚠️ https://t.co/Ja2NRK9Ses https://t.co/6uPAOaYaKE #Wildfires #ClimateChange #NorthSea #UK
A March 2026 eupinions/Bertelsmann poll produced a striking finding: 54 percent of the French would vote for Frexit if a referendum were held on the question. The result stands apart. Other institutes — YouGov, Ifop, Odoxa, Cluster17 — put Frexit support below 40 percent. Yet it #Frexit #France #Poll #FR
When Therapy Replaces Morality: The Rise of the Therapy State By replacing religious frameworks with therapy speak, Western society may have lost its moral “grammar” and traded it for clinical language—though moral and psychological categories work differently. The DSM has expanded dramatically: in 1952 it listed 102 disorders; by 2013 it had over 400. Meanwhile, young adults report worsening mental health: poor mental-health days among 18–25-year-olds rose from 3.5 to 6 per month between 1993 and 2020, and depression diagnoses more than doubled from 2006 to 2020. Yet the most striking shift is self-diagnosis. About one in four American adults suspect they have ADHD, while actual prevalence is around 6%. Social media fills the gap: many popular ADHD and autism clips include misleading or unsupported claims. The label persists because it serves a function. A diagnosis increasingly becomes identity—and identity becomes a shield. When someone claims ADHD, anxiety, or trauma, they may be drawing a boundary others are not allowed to cross. Where moral language asks what we should become, therapeutic language labels what we are; once the label becomes identity, the conversation often ends. Religious language framed forces as external, preserving agency—you could resist. Therapeutic culture internalizes them: you don’t have weakness to overcome; you have ADHD. Jung argued that old gods and demons didn’t vanish; they became neuroses, anxieties, and addictions—turning questions of conscience and choice into labels to accept. The result isn’t greater freedom but greater control. If a civilization can’t say “wrong,” it doesn’t necessarily become more tolerant. Moral language permits disagreement and growth; therapeutic language can pathologize it and end discussion. The therapy state is the successor to moral authority—and it may be easier to enforce.
Who Gets Promoted in a Broken Society? In Harry Potter, J.K. Rowling created a villain: Dolores Umbridge. She gains power not through competence, but conformity, loyalty, and bureaucracy. Evil rarely looks like Voldemort. Umbridge resembles Hannah Arendt’s “banality of evil”: ordinary people pursuing advancement by playing the institutional game. She enforces ideology through bureaucracy. Loyalists replace competent people, dissenters are labelled extremists, and punishment becomes a tool of conformity. The goal is not truth, but compliance. Political Ponerology Polish psychologist Andrew Lobaczewski studied how institutions can be captured by pathological individuals. He called the resulting system pathocracy, and the transformation of normal institutions into ones serving pathological interests ponerization. The danger begins when institutions lose the ability to distinguish competence from manipulation. Those willing to conform can rise precisely because others will not. Ideologues create doctrines, propagandists spread them, and ruthless operators capture institutions. The lesson: totalitarianism does not require one tyrant. It emerges when institutions lose the ability to distinguish the pathological from the honest. The Case of Mao Mao’s China offers a striking example. During the Cultural Revolution, Zhang Tiesheng became famous for submitting a blank exam paper while denouncing intellectuals. Political loyalty mattered more than academic ability. Mao elevated being politically “red” over being technically “expert.” Specialists were displaced by ideologically reliable outsiders. Officials who honestly reported collapsing harvests were purged, while those telling Mao what he wanted to hear advanced. False information helped sustain the Great Leap Forward, whose famine killed tens of millions. China abolished university entrance exams in 1966; they were not restored until 1977. A system that selects against competence eventually loses the ability to see reality. Mediocrity protects power; moral compromise enforces it. Capture education, and you shape a generation unable to challenge the system.
