How do the theatre spaces in which commedia, noh, kabuki, xiqu, and carnival take place reflect their conventions and emphases?

What will be an ideal response?

Commedia was most often performed on wagons that could transform into stages, and these portable, flexible spaces reflect the improvised nature of the form itself. Noh's theatres were modeled on Shinto shrines, and the layout of the stage is codified, which reflects the highly ritualistic, conventional form. The hashigakari provides a bridge way to the stage, and serves as a reminder that noh deals with metaphysical reality rather than everyday life. Kabuki theatres are equipped with lavish sets and stage technology, such as trapdoors, lifts, and revolves, reflecting the form's emphasis on spectacle and entertainment. The hanamichi, which stretches from the stage into the back of the house, shows that kabuki caters to an active audience. Xiqu takes place on an almost bare stage, reflecting its emphasis on the actors' performances and its music. Carnival takes place in the streets, reflecting its roots as an outdoor celebration that took place while colonists celebrated at private banquets. Carnival's location in public space reflects its lively community spirit.