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veterans. Situated in a wide expanse the gateway to a worldof arid desert, the cross was about 20 feet off a two-lane highway where perhaps 20 cars pass a day.
It later sparked a First Amendment court battle when the American Civil Liberties Union filed suit against the National ParkDiscovery Service in March, 2001,

saying the cross violated the Whatever happens,happens for a reasonFirst Amendment because it was a “religious fixture” on federal land. A federal judge at first agreed, crushing local

veterans who claimed that the cross was a historic monument, not an ecclesiastical object. The judge had ruled that the US Supreme Court’s

interpretation of the US Constitution’s “establishment clause” meant “the government may not promote or affiliate itself with any religious

doctrine or organization.”When he first saw photos of the vandalized cross site, Mr. Davis says he was “in shock and disbelief…. How could

anyone have the audacity to catching a glimpse of a lighttear down a war memorial to the dead?”The $25,000 reward is now being offered through the Liberty Institute,

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Supreme Court case of Salazar v. Buono.Davis says that the original constructors meant no disrespect to other religions – the cross was used not

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Clinton says US joins Poland in mourning

WASHINGTON (AP) — U.S.Make youself a better person
Secretary of State Hillary Rodham Clinton says the Polish leaders who were killed in a plane crash Saturday leave behind "a legacy that will live forever."Clinton visited the Polish embassy in Washington on Sunday to sign a condolence book commemorating the deaths of Poland's president, Lech Kaczynski, Whatever happens,happens for a reason
and dozens of other Polish political, military and religious leaders in the plane crash in Russia.
The secretary told Robert Kupiecki, Poland's ambassador to the United States, that Polish Americans as well as "every catching a glimpse of a light
American who admires what Poland has built" are joining his nation in mourning.Clinton promised that the U.S. would work with Poland "to build that future that the people on that plane gave their lives forAfghan official: 4 civilians killed by NATO troopsKABUL – Interntional troops opened fire on a civilian bus early Monday in a southern Afghan city, killing four people and wounding 18, the local governor's spokesman said.
NATO was sending investigatorsthis world is not merely a bad joke
to the scene but didn't immediaThe governor's spokesman, Zelmai Ayubi, said the shooting occurred soon after daybreak and that international troops took 12 of the wounded to a military hospital.
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Pakistan: 41 militants, 2 soldiers die in fighting

PARACHINAR, Pakistan –some birds are not meant to be caged More than 100 militants armed with rockets and automatic weapons attacked two security checkpoints in northwestern Pakistan on Monday, sparking intense fighting that left at least 41 insurgents and two soldiers dead, officials said.
The clashes were the latestsomething inside violence in the Orakzai tribal region, where the military launched an operation in March to rout Pakistani Taliban fighters who have fled there to escape other offensives. More than 300 suspected militants have been killed in three weeks of constant airstrikes and occasionalmore than just words ground clashes.The U.S. has applauded Pakistan's push to go after militants in the volatile border area near Afghanistan. But American officials would like the country to do more to target those fighters who have been staging cross-border attacks against U.S. and NATO troops in Afghanistan.Security forces successfully repelled the attacks early Monday morning against checkpoints in the villages of Shireen Dara and Sangrana in Lower Orakzai, local administrator Samiullah Khan said. Three soldiers were wounded in the fighting, he said.
"More then 100 militants attacked the security checkpoint in Shireen Dara," Khan said. "They fought a gunbattle for two hours and fired several rockets."After the battles subsided, authorities found the bodies of 15Better late than never dead militants around the two checkpoints, said two intelligence officials. Insurgents removed the bodies of at least 26 others who were killed, they said, speaking on condition of anonymity because they were not authorized to talk to the Fighter jets destroyed three militant hie-outs in Sangram village in Orakzai on Sunday, killing 10 suspected insurgents, Khan said. A day earlier, similar strikes killed nearly 100 suspected militants in the no good thing ever dies Orakzai and Khyber tribal areas, according to officials.
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Italy's Opora house

Italy has a wealth of beautiful, historic opera houses, many still serving as theaters. Opera fans should try to visit at least one opera house and enjoy a live performance in Italy (buy tickets ahead). The opera season is generally October through March or April but outdoor performances are held in the summer. Opera houses hold theater and dance performances at other times of the year, too. Here are some of the top opera houses and theaters in Italy.



Milan's famous opera house, Teatro Alla Scala, reopened in December, 2004 after an extensive renovation. It has a bookshop, bar, and history museum, too. The original opera house, designed by neoclassical architect Giuseppe Piermarini, opened in 1778 and many famous operas were first performed here. La Scala was badly bombed during World War II but reopened in 1946 and quickly regained its reputation as a top Italian opera house.

Chinese Opora

Chinese opera together with Greece tragic-comedy and Indian Sanskrit Opera are the three oldest dramatic art forms in the world. During the Tang Dynasty (618 – 907), the Emperor Taizong established an opera school with the poetic name Liyuan (Pear Garden). From that time on, performers of Chinese opera were referred to as 'disciples of the pear garden'. Since the Yuan Dynasty (1271 - 1368) Chinese opera has been encouraged by court officials and emperors and has become a traditional art form. During the Qing Dynasty (1644 - 1911), Chinese opera became fashionable among ordinary people. Performances were watched in tearooms, restaurants, and even around makeshift stages.Chinese opera evolved from folk songs, dances, talking, antimasque, and especially distinctive dialectical music. Gradually it combined music, art and literature into one performance on the stage. Accompanied by traditional musical instruments ike the Erhu, the gong, and the lute, actors present unique melodies - which may sound strange to foreigners - as well as dialogues which are beautifully written and of high literary value. These dialogs also promoted the development of distinct literary styles, such as Zaju in the Yuan Dynasty. For Chinese, especially older folks, to listen to this kind of opera is a real pleasure.


What appeals to foreigners most might be the different styles of facial make-up, which is one of the highlights of Chinese opera and requires distinctive techniques of painting. Exaggerated designs are painted on each performer's face to symbolize a character's personality, role, and fate. This technique may have originated from ancient religions and dance. Audiences who are familiar with opera can know the story by observing the facial painting as well as the costumes. Generally, a red face represents loyalty and bravery; a black face, valor; yellow and white faces, duplicity; and golden and silver faces, mystery.

Besides color, lines also function as symbols. For example, a figure can be painted either all white on his face, or just around the nose. The larger the white area painted, the more viperous the role.

Another technique that fascinates people is the marvelous acrobatics. Players can make fire spray out of their mouths when they act as spirits, or can gallop while squatting to act as a dwarf. This reflects a saying among actors: 'One minute's performance on the stage takes ten years' practice behind the scenes.'

Over the past 800 years, Chinese opera has evolved into many different regional varieties based on local traits and accents. Today, there are over 300 dazzling regional opera styles. Kun opera, which originated around Jiangsu Province, is a typical ancient opera style and features gentleness and clearness. This enabled it to be ranked among the World Oral and Intangible Heritages. Qinqiang opera from Shaanxi, known for its loudness and wildness, and Yu opera, Yue opera, and Huangmei Opera are all very enjoyable.Pecking Opora, the best-known Chinese opera style, was formed from the mingling of these regional styles.

Pecking Opora

Known as China's national opera, Peking Opera, which originated in the late 18th century, is a synthesis of music, dance, art and acrobatics. It is the most influential and representative of all operas in China. Based upon traditional Anhui Opera, it has also adopted repertoire, music and performing techniques from Kun Opera and Qingqiang Opera as well as traditional folk tunes in its development, eventually forming its own highly stylized music and performing techniques. Peking Opera can be divided into "civil" pieces, which are characterized by singing, and "martial" ones, which feature acrobatics and stunts. Some operas are combination of both.

Its repertoire includes historical plays, comedies, tragedies and farces. many historical events are adapted into Peking Opera plays, which in the past were an important primer on history and ethical principles for poorly educated folk.

Two orchestras, playing string and percussion instruments, accompany the singing, which follows a fixed pattern but has a variety of melodies and rhythms. The "jinghu", a small two-strings bowed instrument, is the backbone of the orchestras.

The operatic dialogues and monologues are recited in Beijing dialect, and some of the words are pronounced in a special fashion, unique to the opera.

The actors and actresses, in addition to singing, use well-established movements, such as smoothing a beard, adjusting a hat, jerking a sleeve or raising a foot, to express certain emotions and meaning.

The hands and body trembling all over indicates extreme anger and the flicking of a sleeve expresses disgust. If an actor throws his hand above his head and flicks his sleeves back, he is astonished or surprises. An actor or actress demonstrates embarrassment by covering his or her face with one sleeve.

Some of the movements are less easily understood. An actor grasps his sleeves with a quick movement and then promptly puts his hands behind his back in a decisive manner to show that he is bracing himself for some peril to come.

Sometimes a movement can go on for as long as 20 minutes. For example, while an actor is conceiving a plan, his fingers and hands flutter nervously at his sides, and when the plan is formulated, he just thumps his fist against the palm of his hand with a resounding smack. When worried the actor will rub his hands together for several minutes.

Peking Opera's acrobatic fighting, whether between two parties or in a melee, is a skillful combination of martial arts and acting.

There are four roles in general: the male, the female, the "painted face", and the clown, which are further classified by age and profession. Sheng or male roles can be divided into three categories: the old, the young and the martial arts expert. Dan or female roles includes the young and the middle-aged, the innocent and dissolute, girls with martial arts skills and old women. Jing or painted face roles are always played by frank and open-minded men with brightly colored faces. Chou or clown roles are marked by a dab of white on the ridge of the nose. This character is sometimes positive, kind-hearted and humorous, but sometimes negative, crafty, malicious or silly. Each role has its fixed singing and acting styles.

Like the acting and singing, the makeup is stylized, inspired by the masks worn by dancers in Tang, Song and Yuan dynasties operas. The makeup highlights and exaggerates the principal features of the characters.

For the painted face role, the color of their made-up faces can be an indication of their characters or personality. Red indicates uprightness and loyalty; white is craftiness and cunning. Blue indicates a vigorous, courageous and enterprising nature while yellow shows an intelligent character, but a less extroverted one. Black shows a sound and honest character while brown is often the symbol of a stubborn and obstinate character.

The costumes are based on those of the Ming Dynasty, no matter when the story is set. The props can include a cloth wall, tents, parasols, whips, paddles and weapons. The props are realistic, but not so elaborate that they detract from the performance. Exaggeration and symbolism are characteristics of the opera. Holding a whip is enough to indicate an actor is galloping on a horse. A few soldiers on the stage may represent a whole army. An actor circling the stage suggests a long journey.

Often there are just a table and a few chairs on the stage. The description of many situations depends on the performance of the actors and actresses. In this respect, it is quite different from modern plays of the English languages for the lack of stage manager to tell the setting, the time and overview.

Opening a door, walking at night, rowing a boat, eating, drinking and the like are all demonstrated by the stylized movements of the actors and actresses. Performers also use their eyes and facial expressions to help convey the specific meaning.

In the past 200 years, numerous schools and celebrated performers have emerged. Many of them are emulated by modern-day actors and actresses.

Famous male actors include Tan Xinpei, Yang Xiaolou, Yu Shuyan, Ma Lianliang and Zhou Xinfang. The most famous actors who played female roles are Mei Lanfang, Shang Xiaoyun, Cheng Yanqiu, Zhang Junqiu and Xun Huisheng.

Peking Opera represents an important part of Chinese culture and has become a refined form of art as a result of the hard work of hundreds of artists over the past two centuries.

Opora history

It might seem that Oporaas it developed in Western Europe in the late 16th century, was all a terrible mistake. The interests of the time, scientific and cultural, had brought close attention to the world of ancient Greece and Rome, but if opera was ever intended as a revival of classical Greek tragedy, then it was singularly wide of the mark. Opera, in fact, reflected elements of classical Greek and Roman thought and practice, but had an equal debt to its own immediate predecessors and to the society in which it developed.

In the 16th century there was nothing particularly new about drama and nothing new in the combination of music and drama. Such a combination had had a place, after all, in medieval Christian liturgy, with plays and music re- enacting events associated with Easter and with Christmas. From this a larger repertoire had grown, with plays based on events recorded in the Bible or derived from Christian tradition. Music was associated with dramatic action in secular performances of one sort or another. Court entertainments of various kinds took place in which elements of drama and music were combined. An extravagant example is recorded in accounts of the Feast of the Pheasant in Burgundy in 1454. A court banquet was given as an attempt was made to arouse interest in a Crusade, after the Turkish capture of Constantinople. On this occasion singers in the guise of musical blackbirds emerged from a giant pie for the edification of the guests. Such diversions, whether primarily political or artistic, took place throughout Europe. The essential difference in the new art of opera lay in its developed dramatic structure. This, in turn, was associated with a much more dramatic style of music, drawing on the classical art of rhetoric, the art of public speaking, which, nominally at least, formed part of the new education. The period now known as the Baroque developed in the last decades of the 16th century. It is distinguished, above all, by the development of what has become known as dramatic monody. Here a simple form of melody closely follows the rhythms and intonations of speech, accompanied by simple if occasionally startling chords. The new technique of composition made opera possible. Plays with songs and dances were one thing, but works providing a dramatic combination of words and music throughout were something different.

Oldest opera house reopens

Under the direction of architect Elisabetta Fabbri the theatre, once celebrated as the most beautiful in Europe and perhaps the world, has once again become a state of the art venue for opera. In particular, a hi-tech stage set has been installed and the theatre has at last been provided with air conditioning so that it will no longer be necessary to leave the doors open during performances from May to September.

The theatre was the inspiration of the Bourbon King Charles VII of Naples [known as Carlo III in who wanted to give his city a sumptuous, up-to-date theatre that would be admired by visitors from all over the world.

This he did and the theatre, decorated in gold and luxuriously upholstered in the blue and gold Bourbon colours, successfully opened in 1737. The theatre was destroyed by fire in 1816 and rebuilt under the direction of Antonio Niccolini and this is the structure that we see today. In 1818 the French writer Stendhal wrote of it that

"It dazzles the eyes, enraptures the soul."

In 1845 the theatre was again refurbished and the blue and gold were replaced by red and gold. In 1872, at the suggestion of Verdi, an orchestra pit was added and electricity was installed in 1890. The theatre was bombed in 1943 but was quickly repaired by the Allied occupying forces.

In its heyday Naples was the capital of European music and Donizetti, Bellini, Rossini and Verdi all had premières there. Rossini was house composer and director of the Royal Opera Houses from 1815-22 [when he famously left with the theatre's prima donna, Isabella Colbran] and was followed in this post by Donizetti from 1822-38.

In 2007 government administrators took charge of the theatre because it was found to have debts of over 20 million euros. The Chief Administrator now says that they hope to be able to hand the theatre back into local authority control soon.

The theatre will reopen with a performance of Mozart's "La Clemenza di Tito" conducted by Jeffrey Tate and directed by Luca Ronconi. President Napolitano is expected to attend.

Naples has received much bad publicity in recent times and it is hoped that the occasion will inaugurate not only the revival of the theatre but of the city.