12 Heartbreaking Dramas You'll Recommend to Your Friends

The essence of the water diet

The essence of the diet for the lazy is proper water consumption: 15-20 minutes before meals you need to drink exactly two glasses of clean still water. During meals and for two hours after it, drinking any liquid is prohibited. Then you can drink a cup of tea or coffee. It is not advisable to have snacks between main meals.

Before starting a water diet, you must first prepare the body. It is recommended to drink cleansing teas and flaxseed oil for several days, which helps cleanse the body of waste and toxins. To cleanse the body, take 2 tablespoons of flaxseed oil in the morning on an empty stomach, then immediately drink 300 grams of still water. You can have breakfast after 10 minutes. This cleansing can help you lose two extra pounds of weight.

Diet menu for the lazy

In order to quickly lose weight on a diet for the lazy, you need to think through your diet in advance and determine the time of meals. For greater results, it is recommended to eat strictly according to the clock. The results of a lazy diet will become very noticeable if you carefully select the composition of the menu.

During the period of following a water diet, it is advisable to give up sugar, smoked meats, baked goods and flour products, fatty foods, mayonnaise, various sauces and alcohol. Eating plenty of raw fruits and vegetables helps you lose weight.

An approximate daily diet menu for the lazy is as follows:

Meal time. Menu:

• Morning: 7.45 - 2 glasses of still water, 8.00 - breakfast of any products, 10.00 - a cup of tea or coffee without sugar, 10.00 - 12.45 - any amount of still water;
• Day: 12.45 - 2 glasses of still water, 13.00 - lunch without restrictions, 15.00 - unsweetened coffee or tea, 15.00 - 17.45 water without gas, without restrictions;
• Evening: 17.45 - 2 glasses of clean drinking water, 18.00 - dinner from the desired products, 20.00 - coffee or tea without sugar, 20.00 - 7.45 - some water if you feel hungry.

The concept of drama, its specific features

The word "drama" is translated from Greek as "action". Drama is meant to be played on stage. Formally, this type of literature differs from lyric poetry and epic in that in drama the text is presented in the form of the author's remarks and remarks of the characters and is usually divided into phenomena and actions. Drama includes any work constructed in the form of dialogue, including tragedy, comedy, farce, vaudeville, drama (as a genre), etc.

Drama has existed among various peoples in literary or folklore form since ancient times. The ancient Greeks, ancient Chinese, Indians, Indians, and Japanese created their own dramatic traditions independently of each other.

The specificity of drama as a type of literature is the special organization of artistic speech. In drama, unlike epic, there is no narration, and the direct speech of the heroes, their monologues and dialogues acquire paramount importance. The specific features of the drama are:

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• Lack of narrative-descriptive image
• The text of the work is presented in the form of a monologue and dialogue between the characters
• The author's speech is auxiliary
• The main means of creating a character’s image are action and speech
• The amount of time of action and the volume of text is limited by the stage frames
• Theatrical showiness, exaggeration of feelings and expressions, dictated by the requirements of stage art.

Traditionally, the outline of any dramatic work consists of:

• Expositions – presentations of characters
• Ties
• Action development
• Climaxes
• Interchanges.

How the lazy diet works

A simple diet for the lazy has only positive reviews. In 2 weeks of following it, you can lose from 8 to 12 extra pounds. At the same time, the condition of the skin and hair improves, the body acquires extraordinary lightness.

The principle of the lazy diet is to solve three main problems that interfere with rapid weight loss:

1. Water drunk before a meal partially fills the stomach and reduces the feeling of hunger; accordingly, the amount of food needed to satiate decreases.
2. Drinking water before meals speeds up the metabolic process, which makes metabolic processes more efficient and fats do not have time to accumulate.
3. Most high-calorie liquids are replaced with calorie-free clean water.

An undoubted advantage of a water diet is an increase in energy. And as the amount of energy increases, the number of calories burned decreases.

The duration of the lazy diet is two to three weeks. It is recommended to use it no more than once a year. But if the diet is repeated, the break between courses should be at least a month. The habit of drinking water shortly before each meal will become useful in everyday nutrition.

According to the recommendations of nutritionists, the best time to follow a lazy water diet is summer. At this time of year, most of the fluid absorbed is lost through sweat. You should not immediately introduce a large volume of liquid into your diet. It is recommended to start drinking water with 1.5 liters per day, gradually increasing the amount to the required volume.

Since at least 3 liters of water per day are drunk during a lazy diet, potassium, sodium and calcium are intensively washed out of the body. Therefore, it is necessary to take vitamin-mineral complexes throughout the entire duration of the diet.

Diet contraindications for the lazy

Despite the benefits of water for the body, consuming it in large quantities causes certain harm:

1. The optimal single serving of water is 30 ml. If a larger volume of water is drunk in one gulp, a diuretic effect occurs and thereby a lack of fluid occurs in the body.
2. A diet for the lazy does not prohibit snacking. However, each extra meal must be accompanied by two glasses of water beforehand. Even an extra cup of tea or coffee is considered a snack and requires constant drinking of water. As a result, it is easier to give up excess food.
3. During a water diet, you can only drink raw water. Boiled water loses most of its beneficial minerals and salts. It is not recommended to drink cold water as it slows down the digestion process. The liquid should be at room temperature.
4. The volume of fluid that a lazy diet requires is almost 2 times the standard dietary allowance. Therefore, a water diet is not recommended for people with heart, kidney, liver and gastrointestinal diseases. It is also undesirable for pregnant women and nursing mothers to follow such a diet.

How to enhance the effect of a lazy diet?

To significantly enhance the effect of a lazy diet, you can use the following recommendations:

• You need to drink water in small sips, with short pauses;
• reduce as much as possible the amount of sweets, smoked and fatty foods in the diet;
• increase physical activity;
• sleep at least 8 hours a day.

Replacing products with alternative options will be no less effective. For example, pork can be replaced with lean beef, sugar with dried fruits, milk chocolate with healthier dark chocolate. Of course, in this case the diet can hardly be called lazy, but the result will be more noticeable.

In addition to the water diet, there are other effective lazy diets. The most popular include the Kim Protasov diet, the Mediterranean diet and the protein diet.

Additional recommendations

• An excess of water in the body is much worse than a lack of it. Excessive amounts of water flush out beneficial minerals from the body. As a result, swelling occurs and convulsions or even a heart attack may occur. Therefore, when determining the optimal amount of water required, body weight should be taken into account. The average rate of water consumption is 40 ml of clean water per 1 kg of weight. In extreme heat, during active training and profuse sweating, the prescribed volume may increase slightly.
• Coffee and tea are not included in the daily water intake. The prescribed amount of water must be distributed in even portions throughout the day. Drinking a large volume of liquid at once stretches the stomach and subsequently requires much more food to become full.
• If it is difficult to drink ordinary water, you can improve its taste by adding a little fresh lemon juice to the water.

The water diet for the lazy is remarkable because it does not introduce any discomfort into everyday life. There is no need to exhaust the body with hunger strikes and grueling workouts. The undeniable advantages of the water diet make it one of the most preferred among the huge number of weight loss methods.

Before starting the “transformation”, be sure to consult your doctor!

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drama

(Greek δρα˜μα) - an “action” that is taking place (actio, and something that has not already taken place - actum), since it, developing through the interaction of the character and external position of the characters, seems to pass before the eyes of the viewer; in aesthetics, a poetic genus that imitates such an action. The action is determined by a certain change in a certain period of time, the first in the story corresponds to peripeteia (a change of fate, joyful in comedy, sad in tragedy), the second (of indefinite duration: in the French classical story - a few hours, in Shakespeare - many years) is counted in D. from the beginning to the end of the depicted action. The aesthetically necessary unity of action is based on the first, consisting of moments that not only follow each other in time (chronologically), but also determine each other as cause and effect; only in the latter case does the viewer get a complete illusion of the action taking place before his eyes. The unity of action, the most important of the aesthetic requirements in a drama, is not contradicted by the episodes introduced into it (for example, the story of Max and Tekla in Schiller’s Wallenstein) or even by a parallel action, like another inserted drama, in which its unity must be maintained (for example, Shakespeare has D. in the house of Gloucester next to D. in the house of Lear). A sequence with one action is called simple; a sequence with two or many actions is called complex. The former include mostly ancient and “classical” French, the latter include most Spanish (especially in comedy, where the action of lackeys copies the masters) and English, especially in Shakespeare. The demand for the so-called is based on a misunderstanding (precisely on the misunderstood “Poetics” of Aristotle). “unity of time and place” in D., i.e. 1) so that the actual duration of the action does not exceed the duration of its reproduction on stage or, in any case, would not be more than a day; 2) so that the action depicted on stage takes place all the time in the same place. According to this theory, scenes like Shakespeare’s “Macbeth” (time = 18 years) or “King Lear” (scenes in England and France) were considered prohibited, since the viewer had to be mentally transported through significant periods of time and vast spaces . The success of such D. has sufficiently proven, however, that the imagination even in such cases easily lends itself to allusion, if only the psychological motivation in the actions of the characters, their character and external conditions is maintained. The last two factors can be considered the main levers of the action being taken; in them, those reasons that give the viewer the opportunity to speculate about the expected outcome maintain dramatic interest in it; they, by forcing the character to act and speak one way and not another, constitute the dramatic fate of the “hero.” If you destroy the causal connection in individual moments of action, interest will be replaced by simple curiosity, and the place of fate will be taken by whim and arbitrariness. Both are equally undramatic, although they can still be tolerated in comedy, the content of which, according to Aristotle, should represent “harmless incongruity.” A tragedy in which the causal connection between an act and fate is destroyed, rather outrages than touches the viewer, as an image of causeless and senseless cruelty; These are, for example, in German dramatic literature the so-called. tragedy of fate (Schicksalstrag ö dien Müllner, Werner, etc.). Since action proceeds from causes to consequences (progressively), then at the beginning of the dialogue the former are set out, since they are given in the characters of the characters and in their position (exposition, expositio); the final consequences (denouement) are concentrated at the end of D. (catastrophe). The middle moment when a change occurs for better or worse is called peripeteia. These three parts, necessary in each act, can be designated in the form of special sections (acts or actions) or stand side by side, inseparably (one-act acts). Between them, as the action expands, further acts are introduced (usually an odd number, most often 5; in Indian D. more, in Chinese up to 21). The action is complicated by elements that slow down and accelerate it. To obtain a complete illusion, the action must be reproduced concretely (in a theatrical performance), and it depends on the author whether to submit to one or another of the requirements of the contemporary theatrical business or not. When special cultural conditions are depicted in fiction—as, for example, in historical fiction—it is necessary to reproduce the setting, clothing, etc. as accurately as possible.

Types of D. are classified either by form or by content (plot). In the first case, German theorists distinguish between character traits and situations, depending on how the speeches and actions of the heroes are explained; whether internal conditions (character) or external (chance, fate). The first category belongs to the so-called. modern D. (Shakespeare and his imitators), to the second - the so-called. antique (ancient playwrights and their imitators, French “classics”, Schiller in “The Bride of Messina”, etc.). Based on the number of participants, monodramas, duodramas and polydramas are distinguished. When distributing by plot, we mean: 1) the nature of the plot, 2) its origin. According to Aristotle, the nature of the plot can be serious (in a tragedy) - then compassion (for the hero D.) and fear (for oneself: nil humani a nobis alienum!) should be aroused in the audience - or harmless for the hero and funny for the viewer ( in comedy). In both cases, a change for the worse occurs: in the first case, harmful (death or serious misfortune of the main person), in the second - harmless (for example, a self-seeking person does not receive the expected profit, a braggart suffers disgrace, etc.). If the transition from misfortune to happiness is depicted, we, in the case of true benefit for the hero, have D. in the strict sense of the word; if the happiness is only illusory (for example, the foundation of the kingdom of air in Aristophanes’ “The Birds”), then the result is a joke (farce). Based on the origin (sources) of the content (plot), the following groups can be distinguished: 1) D. with content from the fantasy world (poetic or fairy-tale D., magic plays); 2) D. with a religious plot (mimic, spiritual D., mystery); 3) D. with a plot from real life (realistic, secular, everyday play), and the historical past or the present can be depicted. D., depicting the fate of an individual, are called biographical, depicting types - genre; both can be historical or contemporary.

D. in its original form arose among all peoples from the reproduction in persons of the actual facts of life (in its rudimentary form it also appears in children's games, reproducing the actions of adults: marriage, funerals, war, etc.). In this case, the speeches are either improvised or already invented in advance by the dramatic poet, according to the character and position of the characters. In China, actors travel with magicians and give performances in the form of dialogues, most often love or criminal stories without complete action and caring motivation. Emperor Xuanzong (about 720 AD) is considered the founder of artistic Chinese painting. Voltaire remade the Chinese play “The Orphan of Zhao” for the French theater; another D., “The Miser,” resembles Moliere; There are also historical ones. The latest Egyptologists see Egyptian It is assumed that this D. in ancient Egypt was played out at funerals by priests, relatives and friends of the deceased. the beginnings of Jewish music (with choral parts) in Solomon's Song of Songs. More developed - according to some, under the Greek. influence - Indian drama. Hindus distinguish between sublime, instructive drama, in which the serious is intertwined with the humorous, and low comedy for the amusement of the people (with rude witticisms and miracles). Hindus do not recognize tragedies; They clearly distinguish between presentation, peripeteia and catastrophe (usually a miracle that directs everything to a successful outcome), main and side effects; the characteristics of individual castes and classes are reproduced, even different dialects are used. The connection of events in Indian D. is insufficient; but the particulars, language and thoughts are beautiful. The heyday of Indian drama marks Kalidasa (approximately in the 3rd century AD); his “Sakuntala” first became known to the European public in 1785. Among the Indian dramas there are also plays with intrigue, genre and allegorical. In Peru, the Spanish conquistadors found among the natives a story with a plot borrowed from historical legends. European D. originated in Greece in the so-called. Mysteries (religious dramatic rites) akin to the Egyptian “Book of the Dead” in Eleusis and other cities, developed mainly thanks to the cult of Dionysus (see Greek literature, IX, 668). During the Pisistratids, Thespis laid the foundation for real drama. Starting with Aeschylus, the fate of the heroes is made dependent on their actions and the presentation is given dramatic interest and completeness. The thought of the viewer and listener no longer went into the past, as in the epic, and was not chained to the present, as in the lyrics, but with hope or fear rushed to the future at the sight of the action developing before his eyes. The chorus, the main participant in the celebration of Dionysus, was retained as a participant or sympathetic spectator of the action taking place on stage. The presence of the choir should have led to some difficulties for dramatic poets: it was necessary, if possible, not to change places, to shorten the duration of the drama; Therefore, a lot of things did not happen on stage, but were told (frequent messengers for this). Dramatic interest is greatly moderated by epic (messenger speeches) and lyrical (chorus) inserts; to increase it and for greater illusion in the viewer, the inventive Greek mind for the first time resorted to decoration, unknown to either the Indians or the Chinese. Due to the brevity of the stories, the Greeks put three of them in a row, connected by one common myth, and added a satirical farce at the end (hence “tetralogy” = four stories). Ancient tragedy flourished in the person of Aeschylus, Sophocles and Euripides, comedy - in the person of Aristophanes (ancient) and Menander (new). In Aeschylus's tragedy, a tragic fate weighs heavily on the hero's entire family (descendants pay for the sins of their ancestors). Sophocles and Euripides strive to change generic guilt into individual guilt and are approaching the point of view of the newest D. Ancient comedy proceeds from serious moral issues and approaches punitive satire and pamphlet; often the author himself with the so-called name is in it. “parabases” addresses the audience. Later comedy focuses on the purely comic element, without touching on moral issues. In so called. The average comedy retains the satirical tone of the ancient one, but it is no longer social disorders that are ridiculed, but the vices of private individuals.

In Roman dramatic literature, Greek themes were reworked (from the tragedies of Livy Andronicus to the so-called tragedy of Seneca; the newest comedies are in adaptations of the rough Plautus and the graceful Terence). More original was the local joke and improvised comedy (which survived in Romanized Spain) with constant characteristic masks; their action was usually transferred to Atella (like the Russian Poshekhonye), and therefore (according to Mommsen) they were called Atellans (see Vol. II, 416) and survived even after the fall of classical pagan culture throughout the Middle Ages; after the advent of Christianity, the ancient tragedy was replaced by the tragedy of the passion of the Lord, depicted in mysteries and spiritual ceremonies. At first the church served as the stage, then special open stages appeared; The language of presentation was initially Latin, then they began to resort to folk dialect. The introduction of allegorical figures, the personification of vices and virtues gave rise to the so-called moralities, which little by little passed into the hands of special societies (Bazoche, Confrérie de la Passion); from France these performances moved to Germany (currently the mysteries in Oberammergau and certain places in the Tyrol). miracles (plays with miracles) are similar to morality plays In the comic genre in the Middle Ages. Italy flourished comedia dell'arte, with constant types (Harlecchino, Pantalone, Tartaglia, Gratiano, Colombina, etc.). In Germany, it was imitated by Hanswurst, until the beginning of the 18th century. dominated the theaters; in imperial cities other games were in use at masquerades and Yuletide rites. With the Renaissance, artistic drama appeared in Italy, and with the Reformation, among the newest Romanesque and Germanic peoples, national drama appeared. The first in tragedy was limited to the reproduction of classical features, in comedy it painted frivolous and often immoral pictures (Machiavelli, G. Bruno). National drama in Spain (Catholic direction) and England (Protest direction) developed medieval dramatic beginnings, while France and Germany broke with the latter in order to perceive and reproduce in their own way the first - Roman, the second - Hellenic ideas.

Just as in ancient drama the center of gravity lies in external forces (position), so in modern literature it lies in the inner world of the hero (in his character). The classics of German philosophy (Goethe and Schiller) tried to bring these two principles closer together. The newest drama is distinguished by a broader course of action, diversity and individual character traits, and greater realism in the depiction of external life; the constraints of the ancient choir have been cast aside; the motives for the speeches and actions of the characters are more nuanced; the plastic of ancient painting is replaced by the picturesque, the beautiful is combined with the interesting, tragedy with the comic and vice versa. The difference between English and Spanish drama is that in the latter, along with the actions of the hero, a playful incident in a comedy and the mercy or wrath of a deity in a tragedy play a role; in the former, the fate of the hero follows entirely from his character and actions. Spanish folk art reached its highest flowering in Lope de Vega, and artistic art in Calderon; the culmination of English literature is Shakespeare. Through Ben Jonson and his students, Spanish and French influences penetrated into England. In France , Spanish models fought with ancient ones; Thanks to the academy founded by Richelieu, the latter gained the upper hand, and a French (pseudo) classical tragedy was created based on the rules of Aristotle, poorly understood by Corneille. The best side of this drama was the unity and completeness of the action, clear motivation and clarity of the internal conflict of the characters; but due to a lack of external action, rhetoric developed in her, and the desire for correctness constrained naturalness and freedom of expression. They stand above all in the classic. tragedies by the French Corneille, Racine and Voltaire, and comedies by Moliere. Philosophy of the 18th century. made a change in French D. and caused the so-called. petty-bourgeois tragedy in prose (Diderot), which dealt with the depiction of the tragedy of everyday life, and genre (everyday) comedy (Beaumarchais), in which the modern social system was ridiculed. This trend also spread to German D., where until then French classicism had dominated (Gottsched in Leipzig, Sonnenfels in Vienna). Lessing, with his “Hamburg Drama,” put an end to false classicism and created German drama (tragedy and comedy) following the example of Diderot. Pointing at the same time to the ancients and to Shakespeare as examples to follow, he continued his journey in silence. classical drama, the heyday of which was the time of Goethe (who was first influenced by Shakespeare, then by the ancients, and finally, in Faust, by the medieval mysteries) and the most national German playwright, Schiller. After this, no new original trends arose in poetry, but artistic examples of all types of other poetry appeared. The imitation of Shakespeare is most noticeable among the German romantics (G. Kleist, Grabbe, etc.). Thanks to the imitation of Shakespeare and the Spanish theater, a revolution also took place in French drama, into which the development of social problems (V. Hugo, A. Dumas, A. de Vigny) brought new life. Samples of salon plays were given by Scribe; the moral comedies of Beaumarchais were revived in the dramatic films of morals by A. Dumas fils, E. Ogier, V. Sardou, Palieron and others.

On drama in general, see Lessing’s “Hamburg Drama” (trans. Rassadin); AW Schlegel, “Vorlesungen ü ber dramatische Kunst und Literatur” (Heidelberg, 2nd ed. 1817), Freytag, “Technik des Dramas” (4th ed. Leipzig, 1881); Carri è re, “Die Kunst in Zusammenhange der Kulturentwickelung” (3rd ed. 1877, Russian translation by E. Korsch - “Art in connection with the general development of culture,” M. 1870-75); Klein, "Geschichte des Dramas" (Leipzig, 1865-76); Al. Veselovsky, “Ancient Theater in Europe” (M. 1870); Alpha Roger, “Histoire universelle du théâtre” (II., 1869); P. Polevoy, “Historical sketches of medieval history.” (SPb. 1865); Averkiev, “About drama. Critical Reasoning" with the appendix of the article "Three Letters about Pushkin" (St. Petersburg, 1893). For drama in Russia, see Russian drama.