Introduction
Scientific and technological progress has a great influence not only on the daily life of individuals but also on the way people see and percept the world. That is, evolution has already taken a huge step towards theatre and cinema scenery development. Flats that are used in the movie usually integrate to the theatre. Two main types of constructions are commonly used in theatre and film production, such as Hollywood and TV flats. The draught of these two kinds of units is similar; the main difference is in the location of constructing materials and the joint. The importance of the usage of Hollywood and TV flats in the theatre should not be eliminated, proving that the desire of theatergoers to see high-quality scenery increases with every modern movie script.
Main body
It is significant to make an accent that the primary objective of theatre and film production is to create an illusion. Scenery design is considered to be one of the most powerful tools in achieving this aim, and it would be impossible without the flats. Soft covered units used to be the most common constructions in the theatre for arranging the scenery. Such units are usually made of wooden frames and covered with fabric or canvas. However, it should be stated that soft units have some disadvantages in regular usage (they are not durable and the three-dimensional effect is hard to achieve); that is, Hollywood or TV units enjoy greater popularity nowadays.
Hard units, usually referred as TV or Hollywood flats, are used in television; however, nowadays rigid frames become more accepted in the theatre (Kogler Carver 211). They are the combination of the traditional constructions and farming techniques that were invented for cinema production. These flats are very similar to soft ones, as they have styles and rails (Millerson 39). The standard size of the constructions is usually varied from 8 to 12. Such length allows connecting them smoothly, storing at the sides of the stage and reusing units for the following productions. Hollywood flats are usually made in different thicknesses depending on the design. Sometimes the plywood may be covered with muslin. In this case, a mixture of glue and water should be applied twice over the plywood. The frame is commonly made of industrial wood. The major problem is that the glue can resist paint and make all the defects visible (Wolf and Block 236). The difference between TV and Hollywood units is that while building the TV flat the material is set on the edge to bring it together. There is no need to use corner blocks and keystones. While assembling the frame the glue is used to fix it all together. This step is significant to follow attentively, as it will be impossible to get rid of the glue. The flat is not done until it is covered with a thin sheet of wood and nailed or glued to the frame.
Hollywood and TV constructions are used in the theatre for many reasons, and the most significant of them are getting a higher degree of realism and space-saving, which is crucial while transportation (Jones, 114). Hollywood units are usually made of steel or wood and covered with plywood (Crabtree and Beudert 64). A wide range of different textiles can be applied to the plywood that serves for a better perception of the elements, making them look real. Before painting flats are laid together in the same arrangement that they will appear on the stage. In order not to waste time preparing the stage, flats for different scenery are stored separately.
When there is a need to use small flats, the hard flat is the best opportunity to choose. However, the biggest issue while working with the Hollywood flats is the weight. Nevertheless, the main advantage of using such flats is that it is possible to cut holes for cables if there is a need to do so, without damaging it (Holloway 213). Pictures can be placed anywhere and it can be considered as a benefit because usually the entire look of the units changes all the time and a final decision can be made at the last minute. Besides, due to the flexibility of the hard flats they can be moved around or even cut, for the camera to have a better angle. The main reason to do so is that it is not difficult to hide all the drawbacks of the camera. In the theatre the audience is not under control, they can look everywhere; it should be taken into account while working on the appearance of the scenery. Although it seems to be impossible to cut the flat in the theatre, Hollywood flats are at their best when the constructions should be removed from the stage without even making an effort. Such types of constructions are considered to be the most contemporary; they are easy to build, connect, and use.
The modern audience wants everything to seem realistic and this should be taken into consideration while making TV flats. Their walls resemble the walls of the house and look natural on the camera (Holloway 213). Units can be easily nailed or glued together. The other method to install the unit is lashing it with rope; however, it should be pointed out that this approach is not commonly used during productions (Wolf and Block 213). The cut list of the flat is usually bigger than in the Hollywood flat, because of some differences in constructions (Holloway 213). Profile flats can seem three-dimensional if using different textiles and paint to achieve a natural appearance of the overall structure.
A vast majority of a scenic design is often connected with irregular shapes (trees, columns, and mountains). In this case, TV flats are commonly used; however, the carpenter should be provided with all needed details, namely dimensions, type, and location of the flat. The foam rubber is used to prevent cracks and dents on the painting. The entire surface should be covered with a flexible primer coating. Fabric skin may also be applied to add more textiles and make the appearance of the flat look natural.
Conclusion
In conclusion, it should be stated that theatre and cinema art is highly connected; no matter how competitive it might be seen, both are eager to make illusions with the help of Hollywood or TV constructions. Actors in the theatre have a tremendous responsibility to visitors, as they will not have a chance to start from the very beginning in case someone forgets the words. The same issue is with the scenery; everything should be perfect, as the human eye will see every defect that the camera will not.
References
Crabtree, Susan, and Peter Beudert. Scenic Art for the Theatre: History, Tools and Techniques. Abingdon: Taylor & Francis, 2012. Print.
Holloway, John. Illustrated Theatre Production Guide. New York: CRC Press, 2014. Print.
Jones, Ellen. A Practical Guide to Greener Theatre: Introduce Sustainability Into Your Productions. Abingdon: CRC Press, 2013. Print.
Kogler Carver, Rita. Stagecraft Fundamentals: A Guide and Reference for Theatrical Production. Oxford: Taylor & Francis, 2009. Print.
Millerson, Gerald. TV Scenic Design. London: CRC Press, 2013. Print.
Wolf, Craig, and Dick Block. Scene Design and Stage Lighting. Boston: Cengage Learning, 2013. Print.