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It’s about the lives of four characters. They finally come together in a unique story
during the development of the Big Plot.
Paul William Hampel, the mysterious and powerful Russian oligarch, works as a spy for Putin’s regime, and is the founder of a revolutionary party called Eurasia Revolution; Vanessa Pinney, the cynical journalist from Canada obsessed by power, control and wealth; Mark Savin, an eclectic and fascinating pilot, who leads the Eurasia Revolution movement on behalf of Paul Hampel; and Brian Steiger, the English psychologist whose rationality is easily thrown into crisis by his patients.
Mark Savin is a native Russian guy, who believes strongly in a new society that could be created in a new state called Eurasia. He wants to bring together Russia, Europe and the Middle East and build one super state. He exploits the common anti-capitalistic and anti-imperialistic sentiments of frustrated people in these Eurasian countries and he uses populist rhetoric in order to engage middle classes.
Savin invents the “Eurasia Revolution” political movement. He created a new flag for the Eurasian State and tried to spread his message all over the countries of Eurasia.
Vanessa bumps into him when her boss at the newspaper asks her to write an article about the oligarch. Fascinated by power and charm, Vanessa hates and loves Paul at the same time, but on the way back, on the plane, she meets Mark, the talented pilot and storyteller who hypnotizes her with stories from his past. Vanessa will join the Eurasia Revolution movement, even if she will leave it after a short while.
Vanessa’s mentor is Brian, her former boyfriend and current psychologist, bound to her by a strong feeling. He is the detached observer of the story, being the only one who knows well the psychologies of Vanessa and Paul, both patients of his. Vanessa’s relationships to Paul and Mark do not leave Brian indifferent though.
Jealousy, suspicion, ambition and political interest give birth to extreme and contradictory reactions by all of the characters. It’s a story of alliances and break-ups, declarations of love and war.
This story is rendered with the “Recombinant Fiction” method, which is also help to blur the border between reality and fiction already obscured by the script itself.
Paul William Hampel, the mysterious and powerful Russian oligarch, works as a spy for Putin’s regime, and is the founder of a revolutionary party called Eurasia Revolution; Vanessa Pinney, the cynical journalist from Canada obsessed by power, control and wealth; Mark Savin, an eclectic and fascinating pilot, who leads the Eurasia Revolution movement on behalf of Paul Hampel; and Brian Steiger, the English psychologist whose rationality is easily thrown into crisis by his patients.
Mark Savin is a native Russian guy, who believes strongly in a new society that could be created in a new state called Eurasia. He wants to bring together Russia, Europe and the Middle East and build one super state. He exploits the common anti-capitalistic and anti-imperialistic sentiments of frustrated people in these Eurasian countries and he uses populist rhetoric in order to engage middle classes.
Savin invents the “Eurasia Revolution” political movement. He created a new flag for the Eurasian State and tried to spread his message all over the countries of Eurasia.
Vanessa bumps into him when her boss at the newspaper asks her to write an article about the oligarch. Fascinated by power and charm, Vanessa hates and loves Paul at the same time, but on the way back, on the plane, she meets Mark, the talented pilot and storyteller who hypnotizes her with stories from his past. Vanessa will join the Eurasia Revolution movement, even if she will leave it after a short while.
Vanessa’s mentor is Brian, her former boyfriend and current psychologist, bound to her by a strong feeling. He is the detached observer of the story, being the only one who knows well the psychologies of Vanessa and Paul, both patients of his. Vanessa’s relationships to Paul and Mark do not leave Brian indifferent though.
Jealousy, suspicion, ambition and political interest give birth to extreme and contradictory reactions by all of the characters. It’s a story of alliances and break-ups, declarations of love and war.
This story is rendered with the “Recombinant Fiction” method, which is also help to blur the border between reality and fiction already obscured by the script itself.
Objectives and esthetic style
“The Big Plot” is a spy-story that involves most of the pivotal human conditions - love, violence, betrayal, having beliefs and their weakness in front of the rational reclaims of logic. It suggests that both common-sense rationalism and irrationalism can be the locus for a story.
The manufacturing of reality is underlined by an attempt by one character to create a Plot that could influence the society.
This is the reason why “The Big Plot” is a metanarration and a recursive story that push the limits of narration and of reality as common idea.
The entire story is realized in an extremely esthetic way because the whole audience must be aware from the beginning that it is fiction. All spectators must be attracted to the esthetic of the story and they must be seduced by the pathos of the text played. The visual style is dark, and produce an obscure environment with a small number of very colorful details. The text is poetic, epic and weird. Audiences must be shocked and become emotionally engaged, not simply viewing the piece as a series of facts and actions.
Rather than being seen as fiction, a hoax or a game, “The Big Plot” must be a piece of art.
This is the reason why any kind of nonsense actions and dialogues are allowed, excluded what can compromise the understandable of the story.
“The Big Plot” is a spy-story that involves most of the pivotal human conditions - love, violence, betrayal, having beliefs and their weakness in front of the rational reclaims of logic. It suggests that both common-sense rationalism and irrationalism can be the locus for a story.
The manufacturing of reality is underlined by an attempt by one character to create a Plot that could influence the society.
This is the reason why “The Big Plot” is a metanarration and a recursive story that push the limits of narration and of reality as common idea.
The entire story is realized in an extremely esthetic way because the whole audience must be aware from the beginning that it is fiction. All spectators must be attracted to the esthetic of the story and they must be seduced by the pathos of the text played. The visual style is dark, and produce an obscure environment with a small number of very colorful details. The text is poetic, epic and weird. Audiences must be shocked and become emotionally engaged, not simply viewing the piece as a series of facts and actions.
Rather than being seen as fiction, a hoax or a game, “The Big Plot” must be a piece of art.
This is the reason why any kind of nonsense actions and dialogues are allowed, excluded what can compromise the understandable of the story.
