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Piotr Kusznieruk commented on another interview given by Barbara Mróz-Gorgoń to Onet. He wrote that when asked about the reason for the interview, she replied that she wanted to be able to continue living, and in his opinion, the whole situation resembled a "national tragedy." Kusznieruk ironically suggested that Mróz-Gorgoń could be entrusted with a government project, provided with a salary of 50,000 PLN per month and a company car. He also mentioned Radosław Mróz from TVN24 and his wife Justyna Śliwowska-Mróz from TVP, and wrote that taxpayers could bear the costs of such a solution. #Polska #drama #media (translated)

Zdeněk Šarapatka stated that he was pleased with the election results and perceived them as a rejection of Andrej Babiš and his allies in power. He described the outcome as a promising beginning of a political story that could end with Babiš's downfall, labeling Babiš as a criminal. According to Šarapatka, voters may have been disillusioned by unfulfilled promises and empty wallets. He also mentioned seniors who, in his view, watched a video of Filip Turek with astonishment, in which Turek allegedly stubbed out a cigar on a fresh wind turbine. Šarapatka expressed pride in TOP 09. He claimed that the results challenged the opinions suggesting the party is insignificant and should merge with another. He reminded of the senatorial victories of party colleagues Třetina and Grulich, as well as the strengthening of the party in municipal and city councils. In Prague, according to him, despite an initial agreement, people around Marek Benda posed obstacles. He described TOP 09 as a party connected to the legacy of Karel Schwarzenberg, which he believes was not formed merely on slogans but has its own ideas. He therefore rejected the merger of the party. He praised the chairman Matěj Ondřej Havel for his energy, education, rhetorical skills, and frequent media appearances, although he stated that Havel does not appear convincing in streams. He urged the election winners to defend democracy. #volby #demokracie #politika (translated)

Antyfarmazon encouraged listening to the statements of Jakub Święcki, a breeder of exotic animals. He wrote that Święcki spoke about similar cases of dramas involving animals and people, the situation on site, and how they wanted to get rid of the animals. As the source of the recording, he pointed to the Telewizja Dami Region profile on Facebook. https://t.co/Z93OB72mf4 #ZOOŁączna https://t.co/OObMCMOTJG #zwierzęta #hodowla #ekologia (translated)

The author of the entry claimed that the animals from the zoo in Łęczna, worth millions, were being smuggled abroad. He regarded this as one layer of the drama, and the other as the suppression of people protesting in defense of their jobs. #ZOO #prawaCzłowieka #protest #PL (translated)

Erik Tabery wrote that the MP and Pardubice city councilor Anežka Nedomová blocked the coalition of STAN and ANO, referencing the clear mandate from voters. According to him, an interview with her focused on the post-election events in Pardubice and her rebellion, which would likely oust ANO from the leadership of the city after 12 years. https://t.co/H2aSwliLPP #politika #Pardubice #volby (translated)

The premiere of the opera "Mothers of Kherson," created by American playwright George Brant and Ukrainian composer Maksyn Kolomyiets, will take place at the National Opera in cooperation with the Metropolitan in New York, and its plot focuses on the tragic fates of mothers from Kherson who set out to Russia to find their abducted children. #MatkiChersonia #MuzykaKlasyczna #Ukraina (translated)

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.

Gutab wrote that the media also described the drama of the husband of the janitor murdered in Leszczydół-Nowiny. According to these reports, he learned about the incident from the media, did not receive information or support from the police, was not allowed at the scene, and was not provided with psychological help. The author deemed this situation sad. #dramat #tragedia #wsparcie (translated)

The article mentions how Václav Havel, even after his death, awarded a prize to himself in honor of his 90th birthday, which raises questions about the absurdity of the current world and reflects on his drama, while the president of the republic accepted it at a time when he was on vacation, highlighting the paradox of the current political situation. #VáclavHavel #ČeskáPolitika #Divadlo (translated)

A very nice issue of Reflex has just come out today. I would be glad if you would give it a chance. Here is my editorial on it: HOW SHOULD WE REMEMBER VÁCLAV HAVEL? I often say that I am "as old as the revolution," by which I obviously mean the Velvet one. And this alone brings a whole set of advantages. Your age always reflects the anniversary of the fall of the communist regime in Czechoslovakia, so you remember it well. I am not burdened by the sins of the past, having to decide whether to collaborate with the regime or not. Likewise, I do not have to blame myself for missing the harsh onset of capitalism and coupon privatization. I had to learn to speak first. And to walk. Those of us born in the early '90s sometimes tend to refer to ourselves as "Havel's children." But how can I identify with a person I didn't properly experience in adulthood, yet who so fundamentally shaped the state I grew up in? And how should I, as well as our entire nation, actually remember Havel? I cannot remember Havel like many other older journalists do. I leave it to my more experienced colleagues. I have only one small personal memory of him. I was about eight years old, and we were on a school excursion in Prague. My classmate and I were lagging at the end of our class line. There was a long queue at Wenceslas Square, and we walked along it. We got a bit distracted and created a gap. And into that gap stepped a crowd of people, in the middle of which walked Václav Havel. We both started staring at him and quickly exclaimed, "Good day, Mr. President," and he replied to us with his typical stammering 'r': "Hello, boys," and then disappeared into a bookstore to sign his books. The queue was standing there for him. It was the year he was dealing with health complications, delivered the famous Rudolfín speech, and signed the absolutely fundamental Czech-German declaration. But I only remember the "hello, boys." And that’s all. When he died in 2011, I was starting in the media, so I was only responsible for some minor media outputs around the funeral. Otherwise, I perceived him as the person whose picture hung next to the blackboard throughout my school life. On television, he appears either as a "gumshoe" in a satirical sketch or giving some speech that is too complicated for my child self to listen to. My opinions of him have therefore formed mostly indirectly, like for most people in our country. Through plays and compulsory reading in school, recordings of speeches, and the exceptional film Citizen Havel, where he allowed us to peer candidly into his private life. I never succumbed to the need to idolize him; I was most fascinated by the fact that despite such a rich life, he was essentially a "normal guy" who enjoyed life and who, even in the presidential office, could fulfill his dreams. A smoke with the Rolling Stones, meditation with the Dalai Lama, a beer with Clinton. None of that made him a better politician. Personally, it made him a human to me. The point of Havel's legacy and its breadth is, in my opinion, that everyone can remember him in their own way. Some remember him as the best person in history, others as a brilliant politician who is missed by the Czech Republic. Others see him as a naive believer in truth who preferred grand gestures over political pragmatism. Some as a womanizer, others as a great world author of absurd drama. Historians and philosophers still debate his legacy to this day. So vehemently that due to one "ezonomist" and pseudophilosopher on an electric unicycle, his name was removed from the library's title. But I would like to highlight one thing about him that seems increasingly rare in today's world. He managed to grow old without becoming bitter. He did not turn into a grump shouting at the clouds. He did not allow himself to be dominated by eternal contrarianism and being against all mainstream opinions at any cost. At the same time, he wasn't afraid to confront the mainstream until the end. I would wish for all of us to grow old like Havel. It’s a pity he was given only 75 years. I would have liked to listen to him even at ninety, which he would have celebrated this year. #VáclavHavel #Reflex #historie (translated)

The government of Donald Tusk is ruining public finances! The government could be much more engaged in actions for the permanent deployment of American troops in Poland if it were not increasing the mess and drama in public finances. Just the increase in the costs of servicing foreign debt by over 30 billion zlotys is enough to finance two Trump bases. Unfortunately, instead of sorting out public finances, the government continues to ruin them. On top of that, there is a poor policy towards the United States and a lack of an ambassador. The government could have done much more for this process to proceed better and more efficiently, and Poland would be even closer to the realization of this project. #Polska #finanse #polityka (translated)

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.

💬 Rządzący porwali projekt Pana Prezydenta i wyrzucili do kosza, kładąc na szali dobro i interes Polaków. To obłudne zachowanie Donalda Tuska i próba wywołania kolejnego kryzysu, by odwrócić uwagę od zapaści w służbie zdrowia, dramatu w finansach publicznych i nieudolnego rządzenia państwem. Rzecznik Prezydenta RP @LeskiewiczRafa, @PolsatNewsPL #Polska #polityka #zdrowie

Niewiarygodne, Horna-Cieślak tłumaczy się w Polsacie i porównała sytuację do… małego Kamilka: - kwestionuje pani uzasadnienie sądu? - wielokrotnie jako rzeczniczka nie zgadzałam się z orzeczeniami sądów, na przykład sprawa Kamilka… - z całym szacunkiem, ale porównywanie dramatu małego Kamilka z zaobserwowaną przez panią sytuacja na ulicy… to są dwie różne kategorie Kobieto, do dymisji i znikaj z życia publicznego. #Polska #Polityka #Media