[The place: REST, Tel Aviv Performing  Arts Center. A bed hangs vertically on the wall at the entrance plaza, next to the café with the audience sitting on the café chairs; the bed-linen is printed with a pattern of small Israeli flags. Adina is under an eiderdown, as if asleep. Her eyes move slackly, then roll about. She breathes heavily, sighs, and starts to speak:]
I cannot
No!  No!  No!

[Breathes more deeply, raises her head:]
No!  No!  No!

[Bends her body to the side, and while her hands rub the blanket, she call out, sensually:]
To conquer

[Yawns]
To conquer to conquer to conquer

[Adina shifts the weight of her body slowly to the rear, throws her head back and bursts out in a loud laughter. She turns her body towards the audience, takes the blanket and covers her face with it, bends downward in the direction of the audience, and says in a seductive voice:]
And not to give up.

[She turns, her face towards the mattress and her back towards the audience, raises the blanket above her head, then places the blanket over her shoulders and neck (like a prayer shawl), and says emphatically:]
By God.

[Adina turns, her face to the audience. She moves down to the lower part of the mattress, lays her head on the folds of the blanket, and starts singing, in a very high voice, her personal version of the song:]
Rest has come to the weary

[She places her head on the mattress, in profile, looking upwards:]
And tranquility to the toiler.

[She leans on the mattress again, moves down to its lower half, opens a giant mouth, singing or screaming:]
on the fields of the land of Israel.

[Adina throws her body forward and downward, towards the floor, spreads out her arms, and shouts:]
Dew below.

[She raises her head and says jestingly:]
And a moon above.

[She looks at the audience and addresses questions to it while extending her arms in all directions:]
Where are you going?
Where are you going?
How can you forget everything now,
everything now?
Come, come, come, my brothers
Come, my redeemer brothers.

[Adina takes the blanket and rolls it up rapidly. She rises to the height of the pillow, rolls the blanket, sways it as if it were a baby, and addresses the audience again
Come, my brothers
How can you forget now?
 Come, come,
 Come, my brothers.

[Again she reaches out her hand, and says:]
Come, come my brothers.

[She bursts out Laughing, loudly]
Ahh… my obnoxious brothers.

[Adina moves down to the lower part of the mattress and sings, emphatically:]
What, what, night of night
Stillness in Israel
Sleep, Land
Land of splendor
We will be your guard.

[Adina falls asleep, and the blanket falls from her hands. She repeats this scene, as a kind of loop, about four or five times, before different audiences. In a brief interlude between the scenes she changes postures of sleeping. Through the earphones that hang down from the mattress at the lower part of the bed, the song “Rest has come to the weary”, in a treatment by Yossi Mar-Chaim, continues playing, and on the background of this song Adina says the following text:]
I truly believed that the investment,
 the dedication to my work –
  I still believe that the investment, the
  dedication to my work, as an artist, a teacher,
  a mother and sister, will further
my redemption – our redemption!
 Of course my life`s work has yielded fruit,
 but what of this growing fatigue
 and withering strength?
 I still believe that my work
 will reap an abundance,
 a radiance of good days,
 renewed strength.

[This version of the above text was used by Adina in the video work “Portrait”, 1999]