"Television: the revolution," ([1944])

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"ENTER THE NEW ART —" 143 "What do you mean—'clover-leaf stages?" we ask. "Both of these buildings in front of us are 'clover-leaf units. Suppose you were flying above here right now in a plane. Looking down you'd see how much the lay-outs of these stages resemble a four-leaf clover. Some are three, and a couple have five-leaves. You see, the clover- leaf isn't a single sound-stage—it's a cluster of several sound-stages around a central unit of cameras. Here's the unit where most of our show is originating. Come on inside, and look around." We step inside the clover-leaf. Batteries of artificial lights glare in our faces. Shielding our eyes, we follow our guide across one of the "leaves" of the unit. The general appearance is not unlike the back-stage of a Broadway play- house or a Hollywood motion picture set. Ex- cept that, again, there is that compactness; care- ful planning seems to have wrought an economy of arrangement throughout the studio. Every- thing has its place. We notice that the stage is not cluttered up with a lot of "flats" and scenery. Instead, the