Abraham Popoola's panting, loud portrayal of these lines instills the tension director Hytner pursued, further emphasised by the low, sideward camera angle that presents the conversing, central figures as dark silhouettes. The background light adds to this illusion and mystifies the scene, tallying to the bad news Trebonius delivers to Cassius regarding their trouble. Barbed wire and upturned crates placed between the camera and its focus implant the modern battlefield theme National Theatre presents into the viewer's mind. Hytner's lighting and camera placement choices embody the production and symbolise the incomplete parts that the audience is quickly understanding.

(Dramatic, Cassius) Acting as Cassius, Michelle Fairley performs this line powerfully, voicing the anger and frustration the situation would've expelled. Shaking Titinius' pleading body away and throwing her arms down in passion as she reads her line, the audience is further able to see the heightening severity of the ordeal at one of the play's decisive stages. Sounds of thunder from the sound & engineering team play in unison with her voice, adding an element of drama that coincides with the vigour Fairley displays as she trembles, gun still in hand. As deaths occur at increasing rates at such latter stages of Shakespeare's tragedy, Cassius' pain and intolerance is spotlighted through Fairley's demanding and silencing tone.

(Text, Act V. Scene III) Shakespeare uses evocative language to voice Cassius' pondering over his awaiting death. Metaphorically, the circular shape of a compass represents Cassius' life, which is about to come to an end and complete its cycle. Further on, the metaphor is completed and once again resolved when Cassius is killed with the very same sword as Caesar, another sense in which things have come to a complete circle.

(Text, Act V Scene III) Brutus' referral to himself in third person can be perceived as both a statement of self-acceptance and one of a deep, layered irony. Although Brutus seemingly seems to be disconnecting his spiritual soul from his physical form as his approaching death looms, Shakespeare cleverly designed this line as a subtle prompt towards Caesar. As said by himself, "Caesar should be a beast without a heart," in Act II Scene II shows Caesars's own tendencies to speak of himself in the third person, making Brutus' similar line cynical and slightly sarcastic as his own death approaches. By using illeism both with Caesar and his eventual killer, Shakespeare draws a subconscious connection that is ironic in the way it draws a similarity between the two starkly different men.

(Dramatic, Soothsayer) Hytner succeeds in framing the soothsayer as more a pest than anything else, giving Caesar (David Calder) further reasoning to avoid his continuous warnings. The soothsayer, portrayed as a capped, faraway figure in a large crowd, is made to seem insignificant and hence unimportant to Caesar. This is also achieved through the man's distinct cockney accent, one stereotypically associated with a lower social class - furthering onto the assumption that the soothsayer is less educated and once again - less trustworthy a source for the mighty Caesar.

(Dramatic, Decius) The seductive and passionate performance of these lines by the female actor playing Decius advocates an alternate view to Caesar's eventual change-of-mind and appearance in the Senate. Hytner's production exploits an ironic role reversal, with the female (Decius) standing with a masculine, powerful and overbearing pose, whilst Caesar is sitting, being scolded and scratching his head, baffled. In pyjamas, Hytner makes Caesar look foolish and powerless to resist to Decius' reasoning.

(Text, Decius) The situational irony behind Decius' positivity is made clear by Shakespeare with incorporation of exclamation marks and warm greetings. In many ways, the ruthlessness behind Decius' actions and his apparent lack of compassion to one of his close friends presents the direness of the situation, and the measures undertaken by the conspirators in their mission to dispatch to Caesar are palpable. The consonance between morrow and worthy has the subtle effect of undermining the latter, as the repetition of the 'w' sound removes the initial originality and entirely subverts the compliment.

(Text, Act V Scene III)Shakespeare's use of a shortened monologue to convey Brutus' troubled thoughts in the aftermath of Caesar's murder encapsulates the lasting legacy Caesar had. After hearing of Titinius and Cassius' deaths, Brutus contemplates how Caesar's spirit still prowls and seeks revenge. Shakespeare draws attention to this through utilisation of Brutus speaking his thoughts aloud, a technique fruitful for both the audiences' understanding and the plays' progression.

(Text, Cassius) Cassius' statement further exemplifies his strong beliefs against Caesar's throneship, stating that his feminine virtues are weaknesses not worthy of the crown. Shakespeare uses metaphors - "minds are dead" and "mothers' spirits" - to implant visual imagery for the audience and to emphasise Cassius' reasoning.

(Dramatic, Act V Scene V) As gunshots largely emphasising of National Theatre's modern adaptation of Caesar fade out, Brutus (Ben Whyshaw) lightens the grim ambience with a comedic approach to this Shakespearean line. Whyshaw's surprise, aided by a higher-pitched tone and a look of apparent disbelief, along with Lucius rubbing his eyes combine for a great laugh for the audience. The stage, covered in debris and remnants from the past battle, provides stark contrast for Hytner's comedic approach.

(Dramatic, Act V Scene V) Director Nicholas Hytner's choices of loud background battlefield sounds and hazy smoke atop the stage strongly emphasise the increasing tension of Julius Caesar's dramatic conclusion. The desperate and raucous portrayal of Brutus' lines by Ben Whishaw indicate the growing despair as he pleads the closest of his friends to end his misery, accentuated by hand gestures and sincerity in his voice. Brutus' nearing death is made certain as the once-far gunshots quickly increase in intensity and frequency, a dramatic element added by Hytner as a reminder that "his hour is come".

[Text, Decius) Use of vivid and repetitive imagery that draws on nature is used to personify the flaws in Caesar's nature. Similarly to the methods used by hunters of wild animals, "trees","holes","glasses", "toils", Decius' aim to target a flaw distinct within Caesar, his capitulation to flattery, and exploit it to bring him to the Capitol, to his fate, is clear. Reference to a mythological creature amidst other existing ones emphasises Decius' reasoning that even those that are seemingly perfect in their manner have a flaw implanted within their personality.