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«La notizia secondo cui, insieme al mio storico collaboratore e cofondatore del Forum della Russia Libera, Ivan Tyutrin, siamo inseriti in una lista di persone da assassinare, non è una sorpresa per me, ma è comunque uno shock»«La notizia secondo cui, insieme al mio storico collaboratore e cofondatore del Forum della Russia Libera, Ivan Tyutrin, siamo inseriti in una lista di persone da assassinare, non è una sorpresa per me, ma è comunque uno shock», ha detto Kasparov in un post su Telegram, riferendosi a un articolo del giornale spagnolo El Mundo. #Kasparov #Russia #Opposizione

Ford CEO Jim Farley warns that the United States must be cautious in opening the market to Chinese manufacturers, as Europe is already struggling against the Made in China invasion, but despite this, Ford will continue to collaborate with companies like Geely and CATL. (translated)

The Rome Prosecutor's Office has requested the judge to revoke the closure of the investigation into the Ustica massacre, thanks to France's new willingness to cooperate and provide documents, including radar data related to the night of the Itavia DC9 disaster that resulted in the death of 81 people. (translated)

🔴 Esteban Ocon confirmed that his adventure with Haas will end at the conclusion of the 2026 season! The Frenchman reflects on this decision and shares his feelings, as no plans have yet been defined for the next steps in his career. 🗨️ "My collaboration with the Haas F1 Team will end at the conclusion of the 2026 season. I leave this project with my head held high, proud of my performances in circumstances that have not always been simple, for various reasons and factors beyond my control. My immediate priority is the next race weekend. I will continue to give my all alongside this team, seizing every opportunity and maximizing the performance of the car. There are still many Grands Prix left this season and, as I have always done, I will give everything behind the wheel, for myself and for my team. I am still just as hungry for success. This is absolutely not the end of my career in Formula 1." What do you wish for the future of the French driver? 🤔 #F1 (translated)

An artificial intelligence model developed in collaboration between a British company and the University of Melbourne is capable of identifying type 2 diabetes by analyzing voice, achieving promising results at conferences in Milan, despite the need for further refinements. (translated)

What a blow, Tajani - my cartoon for Il Fatto Quotidiano today on newsstands! #regeni #tajani #satire #cartoon #natangelo Upcoming appointments October 2, 6:30 PM - Milan: in conversation with Chiara Severgnini - Feltrinelli Corso Genova October 3, 5 PM - Brescia: in conversation with Thomas Bendinelli. Nuova Libreria Rinascita, via della posta 7. October 4, 5:30 PM - Gallarate: in conversation with Federica Ponti. Libreria Mondadori Biblos, piazza libertà. October 5, 6 PM - Aosta: in conversation with Elisa Spina. Libreria Mondadori Brivio, Piazza Émile Chanoux, 28. October 6, 9 PM - Turin: in conversation with Natalia Ceravolo. Circolo dei Lettori, via Bogino 9. In collaboration with the bookstore I libri di Eppi. (translated)

Nell'ambito dell'inchiesta sul giallo di Pietracatella, sono state effettuate perquisizioni negli studi di Gianni Di Vita, il quale ha consegnato agli investigatori computer e materiale digitale, mentre ribadisce la sua piena collaborazione con le autorità. #Pietracatella #GianniDiVita #Inchiesta

Dopo la condanna di tre agenti egiziani per il sequestro e l'omicidio di Giulio Regeni, il governo italiano deve ora affrontare sfide legali e diplomatiche per garantire l'esecuzione della pena, in un contesto di mancanza di collaborazione da parte dell'Egitto. #GiulioRegeni #giustizia #diplomazia

La Premier League ha reso pubbliche le motivazioni del verdetto contro il Manchester City, dichiarato colpevole di gravi violazioni delle norme finanziarie e di non aver collaborato all'indagine, con irregolarità che hanno comportato un incremento artificiale dei ricavi e una diminuzione dei costi per oltre 900 milioni di sterline. #PremierLeague #ManchesterCity #calcio

🔵 UFFICIALE PREMIER LEAGUE Una Commissione indipendente ha dichiarato il Manchester City FC colpevole di tutte le accuse relative a gravi violazioni delle regole finanziarie della Premier League nell’arco di nove stagioni, nonché della maggior parte delle contestazioni riguardanti la mancata collaborazione del club con l’indagine della Lega. La Commissione indipendente ha stabilito che, tra le stagioni 2009/10 e 2017/18: il Manchester City ha predisposto contratti fittizi — che non rappresentavano il reale accordo tra le parti — con diversi partner commerciali e si è inoltre avvalso di altri accordi fittizi, con l’obiettivo di gonfiare artificialmente i ricavi del club e ridurne i costi; il club ha depositato bilanci contenenti dati non corretti e ha nascosto la reale situazione delle proprie finanze ai revisori e agli organismi di controllo del calcio; il Manchester City ha violato in misura significativa i limiti di spesa previsti sia dalla Premier League sia dalla UEFA; durante l’indagine della Premier League, il Manchester City ha commesso molteplici violazioni dei propri obblighi di collaborazione e di massima buona fede nei confronti della Lega: tre delle quattro contestazioni sono state accolte. La Commissione indipendente ha accertato che il Manchester City aveva predisposto accordi commerciali fittizi con diversi sponsor nel periodo in questione. Tali accordi facevano parte di un sistema di finanziamento occulto, in base al quale le società sponsor erano tenute a versare soltanto una parte dei corrispettivi previsti. La quota restante veniva finanziata da Abu Dhabi United Group Investment & Development Ltd (ADUG), società proprietaria del club. Nell’ambito di questo sistema furono stipulati anche ulteriori accordi fittizi, finanziati da ADUG, che consentirono al club di contabilizzare costi operativi inferiori a quelli effettivamente sostenuti. Fu inoltre predisposto un accordo circolare fittizio con Fordham, società che aveva acquistato i diritti d’immagine dei calciatori del club, anch’esso finanziato da ADUG. Secondo quanto accertato, lo scopo di questi meccanismi era quello di gonfiare artificialmente i ricavi e ridurre i costi del club per oltre 900 milioni di sterline nel periodo interessato, così da far apparire il Manchester City conforme alle regole finanziarie. La conseguenza, secondo la Commissione, è stata che il club ha presentato bilanci non corretti e ha nascosto la reale situazione delle proprie finanze ai revisori e agli organismi di regolamentazione calcistica. La Commissione ha concluso che: «Con la propria condotta, il club ha chiaramente inteso aggirare le regole della Premier League». #ManchesterCity #PremierLeague #Calcio

Mitico Magazine - The Teatro Edicola of San Severo: A Model of Cultural Revolution for Stanford University as Well Source: https://www.miticomagazine.com/territorio-e-sociale/teatro-edicola-di-san-severo-un-modello-di-rivoluzione-culturale-anche-per-la-stanford-university/ The Teatro Edicola in Via Tondi In San Severo, a singular metamorphosis has taken place: a newsstand abandoned for at least six years has found a new function and a new identity, transforming into one of the smallest and most unusual theatre stages in the world. An experiment born in the heart of the town which, in just a few months, has moved beyond local boundaries, attracting attention even overseas. It is called Teatro Edicola and it is a project conceived by the company Foyer '97, artistically directed by Francesco Gravino, which has brought the old newsstand in Via Tondi back to life through a formula that is both essential and surprising. Foyer '97 Foyer '97 APS was established as a formally constituted association active in the cultural sector in San Severo in 1997, born from the vocation of a group of actors, directors and theatre enthusiasts, with the aim of building a "living" and accessible theatre in the town. Over the years the company has developed a repertoire that includes texts from the classical tradition, contemporary dramaturgy, comedy and experimental projects, not limiting itself to the mere production of theatre shows, but also organising theatre courses and workshops and educational and cultural projects characterised by a strong inclusive ethos, particularly in schools. Foyer '97 does not always have a fixed artistic ensemble, but works with different performers and collaborators depending on the project; the only indispensable presence is that of Francesco Guido Gravino himself, actor, director and artistic director of the theatre company. The distinctive feature of Foyer '97 is certainly the value of social and cultural promotion attributed to theatre, the extremely close relationship with the audience and the search for a type of theatre outside conventional spaces, with cemeteries, trains, bell towers, and now a newsstand, as its backdrop. Six spectators, a few minutes and a minimal distance between stage and audience The project was launched on 27 March 2026, on the occasion of World Theatre Day, offering a theatrical experience built around a radical reduction of the conventional spaces and times of performance. The idea was born not only from the search for unconventional spaces, but also from "Edicola Fiore", the morning press review with a strongly ironic tone presented by Rosario Fiorello and Stefano Meloccaro, which was broadcast first only on Fiorello's social channels between 2011 and 2014, and then also on radio and television between 2016 and 2018. The review took its name from the diminutive of its founder, Fiore, and from the newsstand of a friend of Fiorello's in Via Flaminia Nuova in Rome, where the showman would meet early in the morning with a group of friends to read the newspapers. The San Severo newsstand was granted free of charge by its owner Pino Frau to the theatre group which, after obtaining temporary authorisation and institutional support from the Municipality of San Severo, refurbished it within two weeks at a cost of less than €3,000. Just six seats, a total surface area of 4 sq m, of which only 2 are for the stage area, less than a metre between actors and audience, a curtain, a lectern, two lights, performances lasting between 5 and 15 minutes, audience rotation every quarter of an hour: apparently minimal elements that end up subverting the usual relationship between stage and auditorium. Spectators, in fact, find themselves immersed in the stage action, in such proximity to the actors that every gesture, expression and word becomes immediately perceptible. In this way, theatre abandons its traditional spaces and insinuates itself into the everyday life of the street, becoming an intimate, concentrated and almost participatory experience. During the inaugural period admission was free with a subsequent voluntary donation from spectators; in the event of a more stable and longer-term concession, which could lead to seasonal theatre performances, the proposed ticket price would be €5. Audiences reward the experiment Foyer '97's gamble met with public interest right from the start: over 60 people attended the shows in a single afternoon, while the three days that inaugurated the season sold out. From a singular local experiment, the Teatro Edicola thus began to arouse curiosity even outside the province of Foggia, gradually transforming into a case of cultural and social interest, until it reached the American continent. From the province of Foggia to the "Stanford Social Innovation Review" The San Severo experience has now come under the international spotlight: in September 2026, the Stanford Social Innovation Review, an international journal and platform dedicated to social innovation published by the Stanford Center on Philanthropy and Civil Society at Stanford University in California, published on its website and in the Fall 2026 print edition the reportage "The Six-Seat Revolution", written by Dr Luciano Magaldi Sardella, independent journalist and researcher affiliated with the European Open University, and editorially supervised by deputy editor David V. Johnson. In the article, it is argued that the Teatro Edicola attracted attention overseas because the project concentrates cultural innovation, urban regeneration and proximity theatre into just a few square metres: starting from a real urban problem, it recovers an abandoned place with a modest investment, brings performance directly into public space and experiments with a much closer relationship between actors and spectators. From the point of view of theatrical representation, it also highlights how the format, based on micro-stories of five to twelve minutes, taken from great classics such as Goldoni, Chekhov, Ibsen, Euripides and Benni, and on audience rotation every fifteen minutes, transforms the physical limitations of the space into a precise dramaturgical choice, proving to be extremely innovative. All of this makes it possible to address some of the main critical issues in the sector: falling audience numbers, an exclusively elderly audience, reduced resources and distance from traditional cultural venues. The journal also highlights, however, the potential problems: economic sustainability, the need for stable institutional support and the difficulty of replicating the model, which is closely linked to the community and territory of San Severo. A model looking beyond San Severo Despite the difficulties, initial requests for information have already arrived from Lucca and Rome, where there is curiosity about the possibility of getting to know the model more closely and the steps needed to replicate it. The replicability formula, in fact, does not seem to require particularly costly infrastructure: an unused space, a targeted intervention, a cultural idea, in-depth knowledge of the surrounding area and a willingness to return that place to the community can be enough to trigger a new urban function. It is precisely in the disproportion between the modesty of the resources employed and the resonance generated by the initiative that perhaps the most original feature of the Teatro Edicola lies, certainly unique of its kind; there are, however, other examples in Italy of newsstands reused for other purposes: "Edicola 518", a twentieth-century kiosk abandoned in the centre of Perugia, now dedicated to independent publishing, art and cultural production; and in Rome itself, the abandoned newsstand in Piazza Testaccio used temporarily as a stage for a show by Fabio Morgan and the Erno newsstand in the Prati district, which almost every month offers a calendar of events, exhibitions, pop-ups and collaborations with artists and creative enterprises. Small revolutions, therefore, that tell stories of the reappropriation of urban spaces, of creativity and social innovation. And which, it is hoped, will take root in order to look ever further afield.

Mitico Magazine - The Teatro Edicola of San Severo: A Model of Cultural Revolution for Stanford University as Well Source: https://www.miticomagazine.com/territorio-e-sociale/teatro-edicola-di-san-severo-un-modello-di-rivoluzione-culturale-anche-per-la-stanford-university/ The Teatro Edicola in Via Tondi In San Severo, a singular metamorphosis has taken place: a newsstand abandoned for at least six years has found a new function and a new identity, transforming into one of the smallest and most unusual theatre stages in the world. An experiment born in the heart of the town which, in just a few months, has moved beyond local boundaries, attracting attention even overseas. It is called Teatro Edicola and it is a project conceived by the company Foyer '97, artistically directed by Francesco Gravino, which has brought the old newsstand in Via Tondi back to life through a formula that is both essential and surprising. Foyer '97 Foyer '97 APS was established as a formally constituted association active in the cultural sector in San Severo in 1997, born from the vocation of a group of actors, directors and theatre enthusiasts, with the aim of building a "living" and accessible theatre in the town. Over the years the company has developed a repertoire that includes texts from the classical tradition, contemporary dramaturgy, comedy and experimental projects, not limiting itself to the mere production of theatre shows, but also organising theatre courses and workshops and educational and cultural projects characterised by a strong inclusive ethos, particularly in schools. Foyer '97 does not always have a fixed artistic ensemble, but works with different performers and collaborators depending on the project; the only indispensable presence is that of Francesco Guido Gravino himself, actor, director and artistic director of the theatre company. The distinctive feature of Foyer '97 is certainly the value of social and cultural promotion attributed to theatre, the extremely close relationship with the audience and the search for a type of theatre outside conventional spaces, with cemeteries, trains, bell towers, and now a newsstand, as its backdrop. Six spectators, a few minutes and a minimal distance between stage and audience The project was launched on 27 March 2026, on the occasion of World Theatre Day, offering a theatrical experience built around a radical reduction of the conventional spaces and times of performance. The idea was born not only from the search for unconventional spaces, but also from "Edicola Fiore", the morning press review with a strongly ironic tone presented by Rosario Fiorello and Stefano Meloccaro, which was broadcast first only on Fiorello's social channels between 2011 and 2014, and then also on radio and television between 2016 and 2018. The review took its name from the diminutive of its founder, Fiore, and from the newsstand of a friend of Fiorello's in Via Flaminia Nuova in Rome, where the showman would meet early in the morning with a group of friends to read the newspapers. The San Severo newsstand was granted free of charge by its owner Pino Frau to the theatre group which, after obtaining temporary authorisation and institutional support from the Municipality of San Severo, refurbished it within two weeks at a cost of less than €3,000. Just six seats, a total surface area of 4 sq m, of which only 2 are for the stage area, less than a metre between actors and audience, a curtain, a lectern, two lights, performances lasting between 5 and 15 minutes, audience rotation every quarter of an hour: apparently minimal elements that end up subverting the usual relationship between stage and auditorium. Spectators, in fact, find themselves immersed in the stage action, in such proximity to the actors that every gesture, expression and word becomes immediately perceptible. In this way, theatre abandons its traditional spaces and insinuates itself into the everyday life of the street, becoming an intimate, concentrated and almost participatory experience. During the inaugural period admission was free with a subsequent voluntary donation from spectators; in the event of a more stable and longer-term concession, which could lead to seasonal theatre performances, the proposed ticket price would be €5. Audiences reward the experiment Foyer '97's gamble met with public interest right from the start: over 60 people attended the shows in a single afternoon, while the three days that inaugurated the season sold out. From a singular local experiment, the Teatro Edicola thus began to arouse curiosity even outside the province of Foggia, gradually transforming into a case of cultural and social interest, until it reached the American continent. From the province of Foggia to the "Stanford Social Innovation Review" The San Severo experience has now come under the international spotlight: in September 2026, the Stanford Social Innovation Review, an international journal and platform dedicated to social innovation published by the Stanford Center on Philanthropy and Civil Society at Stanford University in California, published on its website and in the Fall 2026 print edition the reportage "The Six-Seat Revolution", written by Dr Luciano Magaldi Sardella, independent journalist and researcher affiliated with the European Open University, and editorially supervised by deputy editor David V. Johnson. In the article, it is argued that the Teatro Edicola attracted attention overseas because the project concentrates cultural innovation, urban regeneration and proximity theatre into just a few square metres: starting from a real urban problem, it recovers an abandoned place with a modest investment, brings performance directly into public space and experiments with a much closer relationship between actors and spectators. From the point of view of theatrical representation, it also highlights how the format, based on micro-stories of five to twelve minutes, taken from great classics such as Goldoni, Chekhov, Ibsen, Euripides and Benni, and on audience rotation every fifteen minutes, transforms the physical limitations of the space into a precise dramaturgical choice, proving to be extremely innovative. All of this makes it possible to address some of the main critical issues in the sector: falling audience numbers, an exclusively elderly audience, reduced resources and distance from traditional cultural venues. The journal also highlights, however, the potential problems: economic sustainability, the need for stable institutional support and the difficulty of replicating the model, which is closely linked to the community and territory of San Severo. A model looking beyond San Severo Despite the difficulties, initial requests for information have already arrived from Lucca and Rome, where there is curiosity about the possibility of getting to know the model more closely and the steps needed to replicate it. The replicability formula, in fact, does not seem to require particularly costly infrastructure: an unused space, a targeted intervention, a cultural idea, in-depth knowledge of the surrounding area and a willingness to return that place to the community can be enough to trigger a new urban function. It is precisely in the disproportion between the modesty of the resources employed and the resonance generated by the initiative that perhaps the most original feature of the Teatro Edicola lies, certainly unique of its kind; there are, however, other examples in Italy of newsstands reused for other purposes: "Edicola 518", a twentieth-century kiosk abandoned in the centre of Perugia, now dedicated to independent publishing, art and cultural production; and in Rome itself, the abandoned newsstand in Piazza Testaccio used temporarily as a stage for a show by Fabio Morgan and the Erno newsstand in the Prati district, which almost every month offers a calendar of events, exhibitions, pop-ups and collaborations with artists and creative enterprises. Small revolutions, therefore, that tell stories of the reappropriation of urban spaces, of creativity and social innovation. And which, it is hoped, will take root in order to look ever further afield.