ties and towns, which probably can cause severe misrepresentation about the quality of the amateur actors or companies (96). Davidson explains that by saying that “for the spectacles that citie Industrial or environmental toxicant s like Coventry were able to mount were surely not so rough and “amateurish” as we might imagine” or “the quality of the production were surely much, much higher that Shakespeare’s play-within-a-play in A Midsummer Night’ Dream w Industrial or environmental toxicant ould seem to suggest” (96). The play-within-a-play is analyzed studied from a different point of view in the article The Act of Change in A Midsummer Night’s Dream. Alan Bellringer explo Industrial or environmental toxicantres the art of acting which he claims is “a valid part of the art of living” and its importance (213). He asserts that “the sub plot about the Athenian workmen’s underserved success in the amateur dramatic competition is thematically relevant and supportive” (Bellringer 213). On the other hand, the author sees acting and plays as a mean for normal, simple and blundering people like the character Bottom to “escape from their stereotyped tradesmen’s personalities through their imaginative art of drama, the world of ‘shadows’”. Through the play and acting, these craftsmen-actors can “briefly change their status in life” and “find fulfillment in their new-found importance as actors”. Regardless of “a mere matter of talented extrovertism”, Bellringer compliments the performance of the craftsmen for their contribution to the success of the play even though it is intended as a ridiculous performance used to satirize the dramatic play of Pyramus and Thisbe and turn it into a comical play (215). He stresses the dynamism as the essential quality of this comedy and states that the purpose of play-within-a-play is about the “use of change” or the “amendment of life” (Bellringer 217). The play-within-a-play structure recaps the principles the Industrial or environmental toxicant mes and ideas of A Midsummer Night’s Dream and has a significant contribution as a representation of the main play. The similarities in the sub play clarify the overall scheme. It also serves as a tool for Shakespeare’s creative work and a mean for the audiences to distinguish between the fiction and reality and realize the nature of art in theatre. Works Cited Bellringer, “The Act of Change in a Midsummer Night’s Dream”. English Studies 64.3 (1983): 201-17. International Bibliography of Theatre & Dance. Wed. 10 Apr. 2014. Davidson, Clifford. “”What hempen home-spuns have we swagg’ring here?” Amateur Actors in a Midsummer Night’s Dream and the Coventry Civic Plays and Pageants”. Shakespeare Studies 19 (1987): 87-96. International Bibliography of Theatre & Dance. Wed. 10 Apr. 2014. Cite This Work>