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Question: C.-N. Ledoux and Karl Friedrich Schinkel both drew provocative drawings of the interiors of their theater designs (the theater at Besançon and the Schauspielhaus in Berlin)—Ledoux’s eye and Schinkel’s view onto the stage with the opening night backdrop. How might these drawings be seen as reflecting each architect’s attitude about the theater and theatrical design? How are their theaters and representations similar or different? From these two examples, what conclusions might one draw about changing notions of the theater from the late eighteenth to early nineteenth century or about the evolution of a neo-classical vocabulary in terms of form and composition during this period?

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