这是艺术家谈论剧场及其对观众影响的最重要场景之一。在给定的文章Prospero中，米兰的魔术师王为他的女儿米兰达的婚礼仪式提供了一个由他的空中生物变身的面具。在剧本结束时，艺术家普洛斯佩罗或莎士比亚本人对剧本中的剧中焦点提供了深刻的理解。理想情况下，一个子情节详细说明了平行情节，它与主情节一起发展并影响了游戏的结局。然而，莎士比亚和他的戏剧前体一样，会巧妙地运用这种元哲学的元素，在他的戏中插入喜剧插曲或面具表演。 Prospero哲学上拓展了情节维度中的情节的隐喻意义，反映了它们只不过是编织梦想的“毫无根据的结构”。演员只不过是精神;它们隐喻地表示角色扮演的角色扮演。它只是梦想世界中的一种想象，必须在虚无中解体 – 幻想中的城堡，云顶塔和寺庙，由想象变成幻想，而且必须是没有的。观众将被Prospero变身的通风角色带上幻想的航行。在隐喻层面上，全球的观众将被带入想象力的现实领域;被梦想中的幻想元素所证明。在生活体验中无效。艺术家的目标是通过将观众带入他的创作世界来吸引观众的幻想。当一切完成后，“非实质性选美”必须“消失”，观众将醒悟到生活的现实，好像他们在梦中一样。
This is one of the most prominent scenes where the artist talks about metatheatre and its impact on the audiences. In the given passage Prospero, the conjurer king of Milan has presented a masque conjured by his aerial creatures as part of his daughter Miranda’s nuptial ceremony. At the end of the play, Prospero the artist, or Shakespeare himself, has provided an insightful understanding of the play-within-the-play focus of the play. Ideally, a sub-plot elaborates the parallel plot, which develops with the main plot and impacts the denouement of the play. However, like his theatre precursors, Shakespeare would tactfully employ this element of metatheatrics to insert in comic interlude or a masque performance in his play. Prospero philosophically expands on the metaphorical significance of the plot-within-the plot dimension, reflecting that they are nothing but “baseless fabric” that weaves a dream. The actors are nothing but spirits; they metaphorically signify the role-playing carried out by the characters. It is, but an imagination carried out in the world of dreams and must dissolve in nothingness—the fantasy castle, cloud-capped tower and temple, conjured out of imagination, and must be unmade. The audiences will be taken on a fantasy voyage by the airy characters conjured by Prospero. On a metaphorical level, the audiences of the Globe will be taken to a realm of imaginative reality; substantiated by the fancy elements of one’s dream. It has no validity in the living experience. It is an artist’s aim to entertain the fancy of the audiences by taking them into his world of creation. When all is done, the “insubstantial pageant” must “fade” and the audiences will wake up to the living reality as if they were in a dream.