Love Is the Only Master I'll Serve

• (World premiere) Brooklyn International Film Festival, New York City - June 2006[2]
• Media and Dance, Tokyo - Japan, 2006
• Napolidanza, Italy, 2006
• The American Dance Festival, United States, 2006
• Media and Dance, Tokyo - Japan, 2020 (Best Selection)[3]

One entity, divided into two women, addresses himself to an imaginary love-god represented by a pipe-smoking child. The body and voice of the divided entity are used to utter a spectrum of opposed sensations - caused by the division - and heightened sensitiveness related to the subject. The divided entity is seeking a unification, which will not happen without the approval and support of the imaginary love-god.[4]

(Reference for this paragraph Festival program BIFF New York City 2006)[5]

• The Whisper Kid, symbolizes a personalized love-god.
  • she looks with a certain distance and neutrality at the two creatures who address themselves to her;
  • her image is of pureness and young innocence;
  • to cut across this well-spread definition she smokes a big curled hanging pipe;
  • sometimes she blows and creates air bubbles of soap with the inhaled smoke;
  • by these actions the child character reveals a mysterious, elusive background of her own timelessness, of someone who could possibly be aged but appears this time in a gentle, different form.
• Luna, a human female mortal addressing herself indirectly (and sometimes directly) to the imaginary love-god.
  • she figures as a sculpture, perplexed by the whisper kid, but finally she looks straight in a static camera while she sings her ode to love, she expresses her devotion to the subject ("love is the only master I'll serve") by her self-chosen verbal communication;
  • her body almost does not move, we only see a severe, sometimes frightened, sometimes completely desperate-for-love face expression.
• Serena, a human female mortal, addresses herself indirectly (and sometimes directly) to the imaginary love-god.
  • she communicates her devotion to the subject by physical expression;
  • she dances, using a whole spectrum of facial and body statements, interrupted with spasmodic blitzes of short falling moves and/or like electric shocks, like face and body are crying of pain and uncontrolled passion originated by the subject (as it appears sometimes when long periods of a constant energetic and inner peaceful mood is suddenly effected from outside, unexpectedly and on first sight unnecessary, like the pain of a needle in a body which is in a gentle, lovely sleeping state, a pain, abrupt and short, but more hurting, much deeper as one isn’t prepared for it).

• Written and directed by Nicholas Lens

Cast

• Louise Peterhoff - Serena
• Claron McFadden - Luna
• Clara-Lane Lens - The Whisper Kid

Crew

• Photography and camera - Renaat Lambeets
• Choreography - Louise Peterhoff
• Music and libretto - Nicholas Lens
• Art director - Pierre-François Limbosch
• Editing - Simone Rau
• Additional editing - Stefan Rijcken
• Location - Karnak room, Axel Vervoordt, Wijnegem, Belgium[6]
• Shooting days - April 16–17, 2005
• Executive producer - Brigitte Baudine
• Presented by Tabaran Company
• Produced by Nicholas Lens[7]

Music production:
The Accacha Chronicles 3rd part, Amor Aeternus - Hymns of Love, Nicholas Lens

Soloists

• Claron McFadden, Ian Honeyman, Henk Lauwers, Derek Lee Ragin, Elka Simeonova, Galya Haralambieva, Paul Gérimon, Clara-Lane Lens, Angelite -Bulgarian Voices

Recording and mixing

• Acoustic studios - Sofia, Tabaran Studio - Brussels, ICP - Brussels, Villaïda - Casablanca, Bleu Nuit - Brussels, villalou - Cape Town
• Distributed by Sony BMG Classics (CD 82876 66238 2, 2005)
• Published by Schott Music International, Mainz/New York City

• Biff, New York
• Schott Music International
• Internet Movie Database