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CHAPTER 20 SCENERY AND PROPS Rhythm and motion have as much place in the setting of a pro- duction as they do in the music for an extravaganza. Although one is heard and the other is seen the effect of the visual medium is just as important; in fact, it should be said that it is more im- portant since the eye is so much more critical than the ear. When the stage was in its infancy, scenery was not used and the players performed before bare walls. Since that time the art of stage dressing has made tremendous strides and anything is possible today. Television, a medium that is still finding its feet, has been a vehicle for many kinds of productions using all varieties of scenery, including none at times. The influence of movies on the growth of television is natural and as inevitable as gas engines in autos. Scenery considerations are dealt with in this chapter to- gether with abstract and concrete discussions of usage. Television has infinitely much to learn from the motion picture, and for all intents and purposes of stage direction and mechanical operation television is motion pictures by radio. Everything we have learned about scenery placement and usage in movies should be applied to television with, of course, some slight modification, as, for instance, the elimination of most long shots. Even so, limitations such as these are really only tem- porary and will vanish with improvements in the technical aspects of the art. Certain conditions do not hold for film operation which are confining for live television. The logical path for television to follow is that of the movie, always with the guiding principle in 339