AbstractThe Crocodiles Tell All. Frank Castorf’s Bayreuth »Ring« and the »Dynamisation of the Original« – Frank Castorf, who came from a traditional theatre background and has been head of the Berlin Volksbühne for a quarter-century, applied his directorial maxims to Wagner’s Ring of the Nibelung at the Bayreuth Festival. The musical form remained intact, but so did the directorial aesthetic. This article examines the consequences of this combination. To what extent do partial aspects of post-dramatic theatre (mediality, subject construction, notion of authenticity, self-referentiality) inform the performances? After laying out the preconditions for Castorf’s work, the author describes the fundamentals of this Ring’s stage iconography, analyses the relationship between the music and the scenic elements, and discusses the concept of transgression with reference to the stage production.