In pursuit of theatre as craft or sporting display, Brecht later evolved his characteristic production style: the half curtain which did not attempt to completely cover the preparations in progress behind it; the use of placards or screen projections to comment on the action; the non-naturalistic settings; the visible rows of stage lights. These followed naturally from Brecht's desire to reduce empathy in the audience and to induce his actors to 'demonstrate' rather than to incarnate their characters. Just as a concert pianist or a boxer tries to show off his technique, so Brecht wanted every technique and object used in the production to be visible and comprehensible (Bradby and McCormick, 1978). For the production of The Mother in 1935 for the Theatre Union in New York, he wrote:
The second law Hegel took from Ancient Greek philosophers, notably the paradox of the heap , and explanation by Aristotle,  and it is equated with what scientists call phase transitions . It may be traced to the ancient Ionian philosophers, particularly Anaximenes  from whom Aristotle, Hegel, and Engels inherited the concept. For all these authors, one of the main illustrations is the phase transitions of water. There has also been an effort to apply this mechanism to social phenomena, whereby population increases result in changes in social structure. The law of the passage of quantitative changes into qualitative changes can also be applied to the process of social change and class conflict. 
The Philosophy and Literature Bad Writing Contest ran from 1995 to 1998. For an essay giving background on the contest, click here.