What's actually in the village
On most features the village is a monitor cart with two or three screens (one per camera), a wireless video receiver, a few apple boxes or director's chairs with names on the backs, and a set of headphones the sound department hands out so people can hear the boom and lav mixes. Outside or in bad weather the grips put up a pop-up tent or a 12x12 overhead. On a two-camera day the monitors are labeled A and B so the script supervisor can log which camera had which size on every take.
Commercials often split it in two. The director gets a monitor near camera, and the agency and client sit at a second "client village" with their own feed, snacks, and a producer whose job is to keep notes flowing to the director through one person.
How it moves during the day
Every time the company changes setups, someone has to ask where the village goes next. On a scene in a kitchen, the master might let the village sit in the hallway. When the director calls for the reverse, that hallway is now in the shot, and you'll hear the 1st AD on channel 1: "Can we get village moved to the dining room before we light the turnaround?" The video assist operator (or a camera PA on smaller shows) re-runs cable or repositions the receiver, and the set PAs carry chairs.
Planning ahead saves time. On the tech scout, a good 1st AD picks a village spot for each side of the scene so the move happens while electric is still lighting, instead of after camera is ready.
Where it goes wrong
The common complaint is a crowded village. Ten people wearing headphones and talking between takes is noise the boom operator will hear, and it slows the director down when every take gets reviewed by committee. Productions handle this by limiting chairs, putting a second monitor in a separate room for guests, or asking everyone off the headsets except the director and script supervisor.
The other mistake is parking the village so far from set that the director gives notes over a walkie. Actors notice when the director stops walking in after takes.
Connection to other paperwork
The village doesn't show up on a call sheet as a line item, but its footprint matters to the location agreement (you're using a room the homeowner may not have agreed to) and to coverage planning, since every reverse forces a move. On stages it's usually drawn into the floor plan the art department and grips work from. When a scene is small and the room is tight, some directors skip the village entirely and watch a handheld monitor next to camera.