The two authors of these papers face in common one very complex and perplexing problem: the place that representations of dramatic art take in the personal lives of their spectators. Enormous effort has been put into this question, particularly in works on the popular forms of dramatic art in the United States. Both authors take the same point of view on the question, that there is a fairly direct correspondence between the content of the dramas they analyze and the content of the personal experiences and social world of the spectators. Nash argues that the differing contents of the passion plays produced in the three towns she examines faithfully reflect the differing local configurations of religious organization and Indian/Ladino relations. Peacock argues that the ways the ludruk dramas characterize the inner, kampung life versus the outer, more modern and worldly city life bias the spectators directly in their personal attitudes and decisions toward rejecting features of kampung life in favor of modes of modern city life.