Credulity ran amok two years ago when Die Roten Punkte made their Carolina debut at Booth Playhouse, prepping for their more prestigious appearance at Spoleto Festival USA. Both the festival in Charleston and the Associated Press bought into the fiction that Die Roten Punkte (the Red Dots) were two Berlin-born siblings, Otto and Astrid Rot. A cursory Googling would have shown otherwise, but investigative journalism had already joined truth-in-advertising on the endangered list.

The Rots’ successful ruse didn’t mitigate the hilarious thrust of their act, skewering rock antics, clichés, and pretensions. But the acquiescence of the media and presenters to the Rots’ fabricated personae threw a veil over the kids’ wondrous acting ability. While ridiculing the music they performed so well, these two unrelated Australians were able to perfectly mispronounce “Charlotte” with an impeccably gushed German accent. And they bickered and reconciled with the fiery intensity of real siblings.

For their current stint at Duke Energy Theatre through Sunday, the wraps are off the Rots’ true origins in their pre-publicity and in their promotional appearances. But the raunchy, mischievous thrust is the same onstage as the Rots profess to be even artier in their new Kunst Rock incarnation. They open with a song about an unfulfilled “Dinsosaur,” but they will not finish it until they’ve thoroughly deconstructed the reptilian protagonist and his profound travails. Otto has written a new ode to his plastic banana holder, “Bananahaus,” with Astrid thrashing away as wildly as ever on her kiddie drumkit, while adding her customary sexual innuendoes.

More pretentious is the new Punkte mini-rock opera, a sequel to “The 4:15 to Spandau Will Not Run Today.” Orphaned when their parents were flattened by a passenger train — or eaten by runaway lions, the mythology is somewhat in dispute — the young Rots make their way from their smalltown birthplace to big Berlin amid a deathless sequence of deeply affecting tempo changes. Once again, as in “Rock Bang” two years ago, there is audience participation at a lofty level with the audience splitting up to give “Good Bad Bad Good” extra punch. Tenderness peaks in Astrid’s new song, with the concise eloquence of a haiku, as the young lady instructs a stranger — gender and intentions unknown — to “get your finger out of my ass.”

If anything, my wife Sue and I found Otto and Astrid even funnier than two years ago, though I was aching for more stress on their love-hate relationship. I guess the difference is the Duke, a smaller venue that allows more intimacy between the Punkte and the audience. Otto continues to be an adorable, supersensitive angel in his clownish makeup, and Astrid, dressed in the Wicked Queen’s wardrobe from Snow White after additional unsuccessful rehab, is still a she-devil.

The siblings do reprise their greatest hit, the marvelously goofy “Ich Bin Nicht Ein Roboter (I Am a Lion).” So Kunst Rock isn’t completely new, but it’s completely fun.