Interpreting as speaking for another person can be seen as an ethical dilemma per se. This speaking in lieu of another person in another language is closely related to the problem of representation which affects interpreter-mediated interactions. The classical principle for justifying the interpreter’s voice to intrude into so-called ‘original dialogues’, i.e. the communication between the ‘actual' interaction partners is the calming and reassuring illusion that the interpreter is ‘just’ the voice of the other person. Interpreting is thus from the very beginning a ‘dramatic’ performance. The issue of ethics of interpreting as invisible and hidden or visible and open representation is closely connected to power and politics. The method of interpreting enactments presented in this article is inspired by theories and methods from performance studies, theatre pedagogy, sociology and critical/performative ethnography. But its disciplinary home is clearly translation studies. The major focus is on teaching interpreting as participant observation and dramatic enactment. The scenario of interpreting and the performance of the interpreter as agents of social/cultural/political change occupy the centre of training which starts out with the body of the interpreter as the primary medium of communication and goes through various phases including training of particular parts of the body, workshops largely based on improvisations on specific themes in the scenario and the last enactment, the 'performance’.