This section at 4:41, which shows the the lighting much brighter than the previous section in downstage which highlights the two main characters. There is alot going on in this section in which there are different lines of dancers which creates layering which reflects the layers of paint used on the canvas as well as the many people involved in the scene. This section is more energetic and urgent that previous sections which suggests the embarressment of being caught by Acetaeon. For the first seven seconds of this performance the two main people stay in unison, whilst the people in the background are doing one of the moves in unison with each other but at a slower pace than the couple. The people in the background are slowly moving from left to right, and then right to left whilst the front couple take their time to move from left to the right of the stage, which suggests to the eye contact which is exchanged in the painting between the characters, it could also be the direction of the paint strokes. This section continues to concentrate on pas de deux which shows the connection between Diana and Acetaeon.
This is the spin from the previous section of Trepass.
At 5:09 another section begins which tells the side of the story of Diana and her nymphs only. This is portrayed through the dancers being all female and positioned very close together as if protecting & adoring the middle female. They are all using their hands which are on show, one female is covering the eyes of the middle female. 
The last section of Trepass begins at 5:30. The set is the lead female in the middle with a spotlight on her and the rest of the stage in darkness; the mirrors are still in the same position as from the start. The lead female is surrounded by the other female dancers who are in a semi-circle. There is also a male reflection in the mirror which is in a quite dominant stance whereas the female is crouched on the floor looking vulnerable, which represents Diana and Acetaeon for a split second that Acetaeon is more dominant. The lead female looks around the stage, and the overall atmosphere of this scene is dark and sinister compared to the more upbeat previous section. At 6:00 minutes, the male reappears in a more dominant and more intimidating stance, whilst the female does a back bend to reach the floor and then lift one of her legs up, to which she goes en pointe and continues to stay on the floor into another back bend. 
This section suggests the pain and awkwardness of turning into a stag which Acetaeon feels, which may have been the payback for walking in on Diana and her nymphs. This section shows Diana at her most vulnerable as everything is watching her.
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