PARIS (AP) — Creative director Thomas Jolly has some lofty goals for Wednesday’s opening ceremony of the Paralympic Games, when the heart of Paris will once again become the stage for a stunning artistic display.
The outdoor ceremony at the Champs-Elysees and Place de La Concorde — a site where several members of the royal family were beheaded during the French Revolution — is aiming to challenge and reshape society’s perceptions of disabilities.
“When we cut off the heads of the king and queen here, it changed society once. Maybe this ceremony will be the second time we change society,” said Jolly, who was also in charge of the opening ceremony for the Paris Olympics last month.
On Monday, under the sweltering Parisian sun, a hundred dancers, including 20 performers with disabilities, gathered at La Concorde for a final rehearsal under the secrecy of huge banners closing the square. The site hosted several competitions during the Olympics and has now been transformed into a grand open arena centered around the ancient Luxor Obelisk, the French capital’s oldest monument.
Jolly said dance will be central to the show, celebrating all types of bodies through the universal language of movement. Swedish director Alexander Ekman has crafted a rhythmic spectacle where dancers — using crutches, wheelchairs, or adapted tricycles — will interact with pulsating beats.
The music of the event is once again in the hands of Victor Le Masne, who also composed the entire score for the Paris Olympics.
On the eve of the Paralympic rehearsals, Le Masne welcomed a group of journalists into a secluded Parisian studio, offering a sneak peek of the track titled “Sportography,” a blend of organic sports sounds and drum rhythms that captures the essence of athleticism, incorporating real-life elements like the screeching of shoes and the hard breathing of athletes.
Reflecting on his recent collaborations with Céline Dion and Lady Gaga for the Olympic Opening Ceremony, Le Masne shared a few insights into the intense creative process.
He vividly described attending a private rehearsal at the top of the Eiffel Tower, where Dion performed “Hymn to Love” at 3 a.m., just hours before the ceremony. Despite obstacles like rain and Dion’s ongoing health challenges, Le Masne knew that her performance would be nothing short of grandiose.
And he was equally impressed by Lady Gaga.
“I had to work on the ‘Mon Truc en Plumes’ arrangement and then flew to Los Angeles to pitch the idea to her management,” he said. “They loved it, and Gaga immediately immersed herself in learning about French cabaret culture, even perfecting the pronunciation of the old-timey French song. Her professionalism was awe-inspiring.”
For the Paralympics, Le Masne’s approach has evolved.
“This time, I wanted to put the athletes first,” he said, emphasizing the importance of incorporating the physical and emotional sounds of sport.
The ceremony will also see the athletes parade down a section of the Champs-Elysees, Paris’s most iconic avenue, and special efforts have been made to ensure accessibility. The traditional cobblestones have been temporarily covered with a thin layer of asphalt to accommodate wheelchair users. That asphalt layer will be removed after the end of the Paralympic Games, on Sept. 8, said Thierry Reboul, who oversees all Olympic and Paralympic ceremonies.
Unlike the Olympic Opening Ceremony on the Seine, which was marked by stringent security and pouring rain, this event will allow the public to freely watch from along the Champs-Elysees and near the Louvre Museum.
The weather promises to cooperate this time, too, with bright sunshine and clear skies in the forecast.
“But we’re still pretty cautious about that last part,” Reboul joked about the weather conditions.
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