Summary:In this article, the use of “play” in different forms in drama texts is analyzed based on William Shakespeare‟s “Hamlet”, Samuel Beckett”s “Waiting for Godot”, Tom Stoppard‟s “Rosencrantz and Guildenstern Are Dead”. Here, play is defined as the “opposite of reality”. Taking this assumption as the starting point, with an emphasis on the use of “play in play”, the process through which the dichotomy of play-reality either changes its form or intertwines, is studied.