The choreographic piece started from a game of role-playing and exchange between the four Israeli and Palestinian performers based on the memories and identities of the four people filmed. 

In Back Up, Haïm Adri questions and explores performance as a space of oblivion, metamorphosis and extrapolation (in the sense of an even deeper apprehension of the other). ...to perform the other it is not enough to listen, you must also understand, understand the other through oneself...

The choreographic part of Back Up is an up-front piece based on a free reading of Waiting for Godot that is used to set up a situation in which three men and one woman, Israelis and Palestinians, find themselves in a kind of no-man's land that could be a check point. 

Constructed on the premise that the characters re-appropriate the memory of the others, the piece plays with the idea of identity.

Who am I? Who am I to you? What is your territory? Where do memories lay? Who are you in your territory? Who are you in my territory? What moves you? What do you react to? What is the border between my house and your house? What can we two do together? What are we waiting for?

In Back Up, dance emerges from the situations between the characters. The different gestualities of the filmed characters are used to construct the piece in an attempt to create a kind of writing that expresses the history of the territory that they come from. 

In Back Up, the spoken word is constructed as a continuity of stories intermingled with clues about the identity of each of the characters, who express themselves in Hebrew, Arabic, English and French. Captured by microphones, the dialogue is constantly absorbed by the soundtrack, as though it were impossible for an individual word to emerge. As though all words were irremediably lost, forgotten in the flow of shared thoughts.