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What I would like to propose is that the task of the translator is to think in and through translation, to continue changing both source and target until they reach a stasis (which is always a compromise of some kind), somewhat like the synthetic stasis I mentioned earlier.
So the task then is to carry forward at least two parallel texts, rather than source and target, in at least two different languages, and to strive to benefit from the cross-fertilization they afford as they reflect back on each other.
The process, you suggest, is one of mutation but not erasure, of transformation but not cancellation. Particularly within the span of a single performance, as the language becomes ever more garbled in an ordinary sense, one might ask what is at stake in the holding on to the original, both as an idea and as material remnant.