10 In personal correspondence, Yvonne Rainer has pointed out to me that the ambiguity of the enactment of this triangle is heightened in what immediately follows it.  After the dance, there is a close-up of Shirley Soffer asking “Which woman is the director most sympathetic to?”  Then, also in a close-up, Valda Setterfield replies: “I think No. 1, maybe simply because she appears first.”  But this doesn’t clarify anything, since neither woman appeared first in the image; the indeterminacy about which one is which, therefore, doggedly remains, perhaps even more uncomfortably than before.  See pp. 67-68 of the script of Lives of Performers in Yvonne Rainer, The Films of Yvonne Rainer (Bloomington, Indiana: Indiana University Press, 1989).