"A differing point of view from a respected luthier Alan Carruth: "I did an experiment on break angle a while back. Basically, increasing the break angle from six degrees to twenty-five made no audible or measurable difference in the way the guitar sounded. Changing the string height off the top did. My conclusion is that so long as there is 'enough' break angle to keep the string in contact with the saddle top throughout it's vibration cycle, it will transfer all of the force of the vibration to the saddle and drive the top. If the string hops off the saddle top because it doesn't have enough break angle, I suspect you'd hear it as a buzz or a 'sitar' effect." The same principle goes for the nut (i.e. there is little risk of 'weak' break angle, unless your headstock is straight for some reason)"
That is exactly what I was trying to say. I guess I should have been a little more clear that I was referring to the "top of the guitar" not "top of the bridge".
In banjo, the "break angle" of the string over the bridge is vitally important because of different mechanics. That is the string end is fixed to the rim and the only force working on the bridge to move the flexible head is the movement of the string several inches in from the fixed string end, really a rotary motion. The rocking motion of the bridge you get with an acoustic guitar has little effect on the sound, if any.
You CAN make a classical guitar with a low action if you raise the fingerboard relative to the top (elevate it) or change the angle the neck attaches to the body. On the several banjos I built I fixed the angle to work with my desired bridge height and made a sliding neck joint so I could slide the whole neck up and own on the rim to adjust the action height to the desired amount. Worked like a charm.
Could be done on a guitar but is really not as necessary as classical guitar necks are MUCH more stable and rigid than a long skinny 5-string banjo neck. Besides it wouldn't be traditional. Although it would allow you to compensate for top distortion with age. As seen on many older guitars.