It also has Renaissance scenic designs, like this illustration by Serlio for a comedy:
However, I want to talk about the books chapter on Neoclassicism and Romanticism. The authors use Mozart's opera The Magic Flute to demonstrate this rivalry of opposites. A key figure here is Johann Wolfgang von Goethe, who opened the Weimar Court Theatre in 1791.
Goethe first became known for writing pre-Romantic Sturm und Drang plays like Goetz von Berlichingen. He also wrote the greatest play of the Romantic Era, Faust, the first part of which was published in 1808. However, the style he developed at the Weimar Court Theatre came to be known as Weimar classicism. Here's a design he did for The Magic Flute in 1794:
Everything is still perfectly ordered, balanced, and harmonized, but the lesson here seems to be that more is more.
When it came to excess, Romanticism could always do the neoclassical style one better. That pesky order went out the window, though, as emotion and drama reigned. In 1818, the Romantic scenic designer Simon Quaglio came up with this idea for a production of The Magic Flute at the Royal Theatre in Munich:
Movement replaces stasis, and feeling undoes balance. They're both lovely, but ultimately I prefer Quaglio's design.