Deconstructing Paris 2024 Olympic Games

Michel Berger, a Sartrian being-with-others ?

Would Michel Berger align with the existentialist philosophy of Albert Camus and Jean-Paul Sartre, emphasizing individual freedom and the quest for authentic meaning in an indifferent universe? In May 1968, he earned a master’s degree at the University of Nanterre with a thesis on the aesthetics of pop music, including a study of Jimi Hendrix’s albums Are You Experienced and Axis: Bold as Love, blending prog, psychedelic, and blues rock. In his song Le Paradis Blanc, Berger rejects Descartes’ rationalism in favor of Nietzsche’s existentialism, moving away from “Cogito, ergo sum” to a more personal and existential approach.

In contrast, Nietzsche rejected such certainties. He challenged the Cartesian separation of mind and body and dismissed the notion of an absolute, transcendent meaning to life. Instead, Nietzsche embraced the chaos and absurdity of existence, urging humanity to confront life’s struggles without seeking solace in rationality or religious dogma.

“Le Paradis Blanc” resonates with Nietzsche’s philosophy more than Descartes’. The song’s narrator longs for a peaceful end in a space untouched by reason, signaling a surrender to the unknown. This shift—from Descartes’ quest for meaning through understanding, to Nietzsche’s acceptance of the void—mirrors Nietzschean existentialism, in which the relinquishing of imposed meanings opens the door to a deeper, more authentic existence.

Nietzsche in Starmania: Thomas Jolly’s Vision

The enduring influence of Nietzsche can be found in Starmania, especially in Thomas Jolly’s recent adaptation of the famed rock opera. Nietzsche’s philosophy, centered on concepts like the will to power, individualism, and the rejection of societal norms, is woven throughout the show’s characters and narrative.

Zéro Janvier, a powerful political figure in the dystopian world of Starmania, represents a corrupted form of Nietzsche’s “will to power.” Instead of using power for self-overcoming and personal growth, Zéro Janvier’s ambition manifests as totalitarian control. His desire for dominance perverts Nietzsche’s ideas, presenting a cautionary tale of power’s potential for tyranny.

Other characters, such as Johnny Rockfort and the Étoiles Noires, embody Nietzsche’s spirit of rebellion. Their insurgent actions against societal norms reflect the philosopher’s call for the rejection of traditional values in favor of self-creation. Jolly’s version amplifies these existential struggles, underscoring the themes of nihilism, freedom, and the search for meaning in a fractured world.

Characters like Ziggy, who strives to transcend societal constraints, resonate with Nietzsche’s philosophy of self-reinvention. Jolly’s adaptation intensifies the dystopian atmosphere, enhancing the show’s exploration of existential chaos—a direct nod to Nietzsche’s critique of conventional morality and societal structure.

The Paris 2024 Olympics: A Nietzschean Ode?

The opening ceremony of the Paris 2024 Olympics, marked by much debate, offers a rich tableau of philosophical and cultural allusions. The event, blending references to Nietzsche, Carmen, Dionysian myth, and even The Last Supper, demands reevaluation, especially through the lens of Nietzsche’s thought.

At the heart of Nietzsche’s philosophy lies the tension between Apollonian and Dionysian forces—between order, control, and reason on the one hand, and chaos, passion, and ecstatic celebration on the other. The Paris ceremony embraces the Dionysian, challenging the traditional Olympic ideal of Apollonian order and discipline. The celebration of life’s inherent unpredictability and irrationality reflects Nietzsche’s critique of societal conventions and his praise for life’s exuberant, chaotic energy.

The inclusion of Carmen, a figure symbolizing rebellion and unbridled passion, further underscores the ceremony’s subversive tone. Carmen’s defiance of societal norms mirrors Nietzsche’s rejection of conventional values and his celebration of individual will.

Meanwhile, references to The Last Supper, intertwined with Dionysian imagery, offer a bold juxtaposition. Rather than emphasizing themes of sacrifice and death, as often associated with Christian iconography, the ceremony shifts focus to the celebration of life and vitality—aligning more closely with Nietzsche’s critique of transcendent meanings and his affirmation of earthly existence.

The “French Touch” and the Legacy of French Theory

As the Paris 2024 Games draw to a close, the featured artists—Kavinsky, Angèle, Air, Phoenix, and Justice—underscore the deep connection between contemporary French music and the nation’s philosophical legacy. French theory, especially the works of Martin Heidegger and Jean Baudrillard, continues to exert influence on the genre known as the “French Touch,” which critiques modern technology’s effects on human life.

Kavinsky, with his dystopian, retro-futuristic soundscapes, mirrors Heidegger’s concerns about technology. In his music, one hears echoes of Heidegger’s idea of Gestell (“enframing”), which warns that technology can turn humanity into mere resources within a mechanistic system. Similarly, Justice, with their blend of religious imagery and electronic beats, explores the hyperreality Baudrillard described—a world where the line between reality and its simulation blurs, raising questions about authenticity in modern life.

Air, whose ethereal soundscapes (Moon Safari, Playground Love, Le voyage dans la lune)  evoke a sense of longing for a more human connection with the world, offer a critique of technology’s dehumanizing effects. Their music gestures toward a desire for simplicity, a more genuine experience that stands in contrast to the overwhelming mechanization of contemporary life. Through these artists, the “French Touch” becomes a philosophical statement, both embracing the aesthetic possibilities of technology while also reflecting on its dangers.

Olympic Visual Aesthetics: From Olympia to Paris 2024

The Paris 2024 Olympics draws on a long history of Olympic visual aesthetics, a lineage that traces back to Leni Riefenstahl’s controversial Olympia (1938). Riefenstahl’s work, while laden with Nazi ideology, laid the groundwork for the visual glorification of the human form and athletic prowess in modern ceremonies.

However, later artistic interpretations, such as Chris Marker’s Helsinki (1952) and Annie Leibovitz’s photography of the 1996 Atlanta Games, moved away from Riefenstahl’s nationalistic focus. Marker’s work emphasized the athletes’ humanity, while Leibovitz elevated them to iconic status without losing sight of their personal struggles.

The Paris 2024 ceremony synthesizes these aesthetic traditions, merging Riefenstahl’s spectacle with Marker’s humanism and Leibovitz’s focus on individual triumph. The result is a modern Olympic presentation that celebrates human achievement while acknowledging its complex historical and philosophical underpinnings. By doing so, the Paris Games offer a visual and philosophical meditation on the enduring tension between individual empowerment and the grand narratives of history.