Although Caligula presents a clear philosophical theme, it is also consummately theatrical. Indeed, some observers have asserted that effective drama was Camus’s primary concern, and it would not be at all surprising if that were true. Camus founded the Theatre du Travail (Workers’ Theater) in his native Algeria (which was then a French colony) and helped organize a touring company in which he participated as actor, screen designer, and director. It is quite likely that Camus originally planned to play the role of Caligula himself.
Caligula owes its effectiveness as drama to its deftness of characterization, rapid pace, high level of suspense, and striking visual imagery. The most formidable character of the play is Caligula himself. Originally played to excellent reviews by the prominent Gerard Phillipe, the character of Caligula is both immediately riveting and deeply complex. From the ominous foreboding coloring the dialogue preceding his first appearance, Caligula grips the audience’s attention. His fascination with his reflection in the mirror, his rapid shifts of emotion, and his unpredictable behavior all produce the sense of anticipation or expectancy that creates good tense theater. Further, Caligula is no simple oppressor. The audience is made to feel the anguish which fuels his cruelty, so the character of Caligula achieves universality while remaining highly personal—and even somewhat sympathetic.
(The entire section is 444 words.)