ABSTRACT
Diderot’s drame bourgeois changed the mode of participation at the theatre by increasing the level of identification of the spectators with the actors on stage. It also relocated the spectator in relation to the action by implying simultaneously the invisibility of the spectator and the continuity between the space of performance and that of the audience. The transformations brought about by this theatrical genre were intimately linked to the changing role of convention during the second half of the eighteenth century. Such transformations had architectural repercussions that could be seen first in the physical remodeling of French theatres at that time. Those transformations would eventually expand beyond the walls of the theatre.
