Dancers populate the playing field. They each have a clear goal in mind, but the road to it is filled with obstacles, both physical and mental. A poignant performance about the need for flexibility, perseverance and cooperation.

In HOW IT ENDS the dancers are not only confronted with each other, but also with life-size dominoes. In this way the Dutch-Serbian choreographer Jelena Kostić brings the spontaneity and capriciousness of life to the dance floor. In the most literal sense of the word, the blocks, with their unpredictable behaviour, throw up obstacles.

Free Running

Jelena Kostić uses the body as the ultimate narrative instrument in a dance language full of contrasts and emotions. For HOW IT ENDS she found inspiration in free running, a genre within urban dance in which the dancers relate to different obstacles and elements in their environment.

Personal experiences as a motor

The starting point for HOW IT ENDS was Jelena’s interest in the workings of focus and tunnel vision, something she herself has often had to deal with in her career as a dancer and choreographer. Perseverance, trial and error, getting up, starting all over again and sometimes giving up. As part of her research for this performance, Jelena spoke with not only professional athletes and dancers, but also with women in top positions. These concrete, personal stories were the driving force behind a performance that is ultimately about universal and recognisable human experiences.

Version for two dancers

HOW IT ENDS premiered with four dancers in March of 2020, shortly before the lockdown. Because of the corona measures the performance has been adapted for two dancers. This entails the shift of focus from group dynamics to the dynamics between two individuals, who are ultimately dependent on each other.


“The production is an ode to people at play. With blocks, they can occupy themselves endlessly.”

– Theaterkrant


Choreography – Jelena Kostić
Dancers – Noëmi Wagner, Blazej Jasinski [in the version for 4 dancers also: Pauline De Laet and Anne Roeper]
Dramaturgical & artistic advisor, concept development – Lou Cope
Artistic advisor & repetitor – Judit Ruiz Onandi & Thomas Falk
Composer – Dyane Donck
Set design – Ascon de Nijs
Lighting design – Dominique Pollet
Costume design – Biljana Grgur
Art work / campaign design – Nataša Radosavljević & Nikola Kostić
Communication & PR – Laura Roling
Production – Andrea van Bussel
Business manager – Petra de Haan

Supported by: Fonds 21, Prins Bernhard Cultuurfonds, Fonds Podiumkunsten, BNG Cultuurfonds, Gemeente Tilburg en Provincie Noord-Brabant

In some situations, there is no quick fix.

The real challenge then is to be patient, also in contact with others. Only Patience Works Immediately, a twenty-minute location dance performance for two dancers, was created in 2020 in the midst of the pandemic, and reflects on the emotions in a world where our patience is being tested.

Social impact

Especially for care workers of the Elisabeth-Tweesteden Hospital, residents of the residential care centre Het Laar and the women’s refuge Sterk Huis, we first brought this performance live in the period August-November 2020, in the framework of a participation programme tailored to the target group. In this way, we brought dance to people who normally rarely experience the art form of dance, and for whom the distance to art – and its reflective, healing and emotional power – is greater than ever.

Stand-alone performances

Aside from its original form as a social project, Only Patience Works Immediately has also been presented in other contexts.


Choreography – Jelena Kostić
Dancers – Noëmi Wagner/Sarah Prescimone, Blazej Jasinski
Dramaturgy and artistic advisor – Lou Cope
Artistic advisor & repetitor – Judit Ruiz Onandi
Composer – Dyane Donck
Set design – Ascon de Nijs
Costumes – Biljana Grgur

With the support of: Prins Bernhard Cultuurfonds, Fonds Jacques de Leeuw, Fonds Sluyterman van Loo